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 France and from Philadelphia.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bologna and New York.
I'm losing my edge to the art-school Toronto 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 Holger Czukay 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 Wally Richardson to the dance kids.
I played it at CBGB's.
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 Sarah Menescal. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
The Cosmic Jokers,
Warren Ellis,
Rowland S Howard / Lydia Lunch,
Reagan Youth,
Big Daddy Kane,
Liaisons Dangereuses,
Man Parrish,
ABC,
Echospace,
Bad Manners,
Chris & Cosey,
Slick Rick,
Delon & Dalcan,
Joe Smooth,
Gichy Dan,
Ornette Coleman,
Archie Shepp,
Hardrive,
Section 25,
Vaughan Mason & Crew,
Surgeon,
A Flock of Seagulls,
Half Japanese,
Judy Mowatt,
PIL,
Juan Atkins,
Bauhaus,
Roy Ayers,
Bob Dylan,
Wings,
Gabor Szabo,
Clear Light,
Blossom Toes,
David Axelrod,
Nick Cave & The Bad Seeds,
Ultra Naté,
Absolute Body Control,
Sight & Sound,
Angry Samoans,
Minnie Riperton,
Slave,
Wighnomy Brothers & Robag Wruhme,
Roger Hodgson,
China Crisis,
Howard Jones,
Bizarre Inc.,
The Martian,
Maleditus Sound,
Alphaville,
Black Pus,
Tomorrow,
Be Bop Deluxe,
The Sisters of Mercy,
The Last Poets,
Mr. Review,
Maurizio,
Yazoo,
JFA,
MDC,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.