Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Namibia and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1974.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school Spokane kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Monks to the crunk kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Eli Mardock. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Agent Orange,
Pantaleimon,
Lucky Dragons,
Lalo Schifrin,
The Buckinghams,
Pharaoh Sanders and the Fire Engines,
The Slackers,
AZ,
Grandmaster Flash and the Furious Five,
Soul Sonic Force,
Arthur Verocai,
Suburban Knight,
The Wake,
Art Ensemble Of Chicago,
The Associates,
E-Dancer,
LL Cool J,
Average White Band,
ABBA,
Crooked Eye,
Kango’s Stein Massive,
The Real Kids,
Grandmaster Flash,
Aaron Thompson,
Japan,
Teenage Jesus and the Jerks,
Television,
Gastr Del Sol,
Interpol,
Red Lorry Yellow Lorry,
H. Thieme,
Robert Görl,
The Smoke,
Juan Atkins,
Johnny Clarke,
Liaisons Dangereuses,
Matthew Bourne,
Todd Terry,
Chrome,
Tommy Roe,
Siouxsie and the Banshees,
Faust,
The Kinks,
Mary Jane Girls,
The Royal Family And The Poor,
Visage,
Pole,
Johnny Osbourne,
Scratch Acid,
Oblivians,
New York Dolls,
a-ha,
Monolake,
Notorious Big And Bone Thugs,
X-Ray Spex,
Ornette Coleman,
One Last Wish,
Urselle,
Babytalk,
The Saints,
Roy Ayers,
Arcadia,
Gang Green,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.