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 Yemen and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Accra 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Avey Tare to the funk kids.
I played it at the Spitz.
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 Ten City. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every The Tremeloes 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jimmy McGriff,
the Soft Cell,
Sun Ra,
Hardrive,
Slave,
David Bowie,
Scott Walker,
Easy Going,
Sparks,
The Dave Clark Five,
Unrelated Segments,
Max Romeo,
Lyres,
Pharaoh Sanders and the Fire Engines,
Stockholm Monsters,
Althea and Donna,
Agent Orange,
Teenage Jesus and the Jerks,
Model 500,
Boz Scaggs,
The Birthday Party,
Lebanon Hanover,
Magma,
Stereo Dub,
Animal Collective,
Art Ensemble Of Chicago,
The Count Five,
DJ Sneak,
Ajijia Myrayebe,
Kenny Larkin,
Carl Craig,
Andrew Hill,
Tropical Tobacco,
The Victims,
Neu!,
Sight & Sound,
Gabor Szabo,
Robert Hood,
Delta 5,
Rakim,
The Electric Prunes,
Underground Resistance,
The Pretty Things,
Piero Umiliani,
Minnie Riperton,
Blossom Toes,
Bobby Womack,
Drexciya,
Donald Byrd,
The Index,
Skarface,
Jeff Lynne,
John Holt,
Jerry Gold Smith,
The Mojo Men,
The Raincoats,
Jacques Brel,
Sex Pistols,
Hashim,
Parry Music,
Matthew Halsall,
R.M.O.,
Anthony Braxton,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.