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 Bangladesh and from Manila.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Columbus.
I'm losing my edge to the art-school Seoul 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 rhodes 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 Yusef Lateef to the disco 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 Detroit Cobras. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every James White and The Blacks 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
The Neon Judgement,
Traffic Nightmare,
Nico,
Con Funk Shun,
Young Marble Giants,
Neil Young,
Dr. Dre and Snoop Doggy Dog,
Babytalk,
Reuben Wilson,
X-101,
Crash Course in Science,
Mandrill,
The United States of America,
The Fire Engines,
Mo-Dettes,
Aswad,
Black Pus,
Boogie Down Productions,
Notorious Big And Bone Thugs,
Jerry Gold Smith,
Severed Heads,
The Names,
PIL,
Lyres,
David Axelrod,
Anakelly,
Carl Craig,
MC5,
Peter & Gordon,
Lee Hazlewood,
Lower 48,
Sound Behaviour,
Grauzone,
Urselle,
Todd Rundgren,
Justin Hinds & The Dominoes,
Parry Music,
X-102,
T. Rex,
Susan Cadogan,
Throbbing Gristle,
Gary Puckett & The Union Gap,
Spandau Ballet,
Q65,
Red Lorry Yellow Lorry,
Underground Resistance,
Cal Tjader,
Lizzy Mercier Descloux,
Dennis Brown,
Rod Modell,
Massinfluence,
The Knickerbockers,
The Sisters of Mercy,
Man Eating Sloth,
Gastr Del Sol,
Rufus Thomas,
The Men They Couldn't Hang,
Morten Harket,
Cheater Slicks,
Jacob Miller,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.