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 Somalia and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Marc Almond to the electroclash 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 Laurel Aitken. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth 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?
The Skatalites,
Brass Construction,
Gastr Del Sol,
X-Ray Spex,
Wally Richardson,
Dawn Penn,
Flamin' Groovies,
Letta Mbulu,
Joe Finger,
The Men They Couldn't Hang,
The Martian,
The Gladiators,
Organ,
China Crisis,
Rekid,
Archie Shepp,
Cymande,
Jerry Gold Smith,
Thompson Twins,
Jacques Brel,
Sexual Harrassment,
Groovy Waters,
The Seeds,
Warsaw,
The Star Department,
Jimmy McGriff,
The Chocolate Watch Band,
Barbara Tucker,
Altered Images,
Au Pairs,
Peter and Kerry,
London Community Gospel Choir,
Johnny Clarke,
Curtis Mayfield,
Easy Going,
Eyeless In Gaza,
Slick Rick,
Inner City,
Basic Channel,
Albert Ayler,
Girls At Our Best!,
Japan,
Kurtis Blow,
David Bowie,
Kerri Chandler,
Yazoo,
Fifty Foot Hose,
Erasure,
Tubeway Army,
The Peanut Butter Conspiracy,
Louis and Bebe Barron,
JFA,
EPMD,
PIL,
Model 500,
DNA,
Pet Shop Boys,
OOIOO,
E-Dancer,
The Blues Magoos,
Marc Romboy vs. Booka Shade,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.