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 Iceland and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Manila and Accra.
I'm losing my edge to the art-school Salvador 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Wings to the grime kids.
I played it at the Astoria.
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 Tom Boy. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Monolake,
The Chocolate Watch Band,
Ultramagnetic MC's,
Swell Maps,
Byron Stingily,
L. Decosne,
Röyhkä ja Rättö ja Lehtisalo,
Theoretical Girls,
Art Ensemble Of Chicago,
B.T. Express,
Josef K,
Laurel Aitken,
the Fania All-Stars,
Shoche,
Pulsallama,
Sixth Finger,
Boz Scaggs,
Mission of Burma,
Fifty Foot Hose,
Q65,
Masters at Work,
The Gap Band,
The Kinks,
The Beau Brummels,
The Real Kids,
Gang Starr,
Fear,
Neu!,
Robert Hood,
Camberwell Now,
DNA,
Marmalade,
Guru Guru,
Ossler,
Rufus Thomas,
T.S.O.L.,
The Sound,
New Order,
UT,
Pharoah Sanders,
Marc Romboy vs. Booka Shade,
Brass Construction,
Matthew Halsall,
Jawbox,
Lonnie Liston Smith,
Half Japanese,
F. McDonald,
Dark Day,
Excepter,
Eyeless In Gaza,
Kauko Röyhkä ja Narttu,
Urselle,
K-Klass,
The Golliwogs,
Marc Almond,
Fort Wilson Riot,
Joe Smooth,
Kevin Saunderson,
The Remains, The Remains, The Remains, The Remains.
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.