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 Canada and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Sao Paulo.
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 organ sounds with much patience.
I was there when Michael McDonald 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 Traffic Nightmare to the grunge 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 The West Coast Pop Art Experimental Band. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Henry Cow,
DNA,
Amazonics,
Throbbing Gristle,
The Motions,
Jeff Mills,
Bang On A Can,
Electric Light Orchestra,
Bootsy's Rubber Band,
Pharoah Sanders,
Derrick May,
Slave,
Black Pus,
Althea and Donna,
Manfred Mann's Earth Band,
Nik Kershaw,
Fat Boys,
Q and Not U,
The Smiths,
Ice-T,
Flash Fearless,
Matthew Halsall,
Camron Feat. Memphis Bleek And Beenie Seigel,
Anthony Braxton,
Whodini,
The Monks,
The Gladiators,
Oblivians,
The Gun Club,
Gang Green,
Erykah Badu,
Grauzone,
Joe Smooth,
the Association,
Metal Thangz,
Strawberry Alarm Clock,
The Electric Prunes,
the Normal,
Ituana,
A Flock of Seagulls,
Alton Ellis,
the Bar-Kays,
Robert Wyatt,
D'Angelo,
Stockholm Monsters,
Dorothy Ashby,
Pole,
Carl Craig,
It's A Beautiful Day,
The Mojo Men,
Sparks,
Trumans Water,
Sugar Minott,
Lebanon Hanover,
Jacques Brel,
The Doors,
Fort Wilson Riot,
Guru Guru,
The Durutti Column,
X-102,
Charles Mingus,
The Dead C, The Dead C, The Dead C, The Dead C.
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.