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 South Africa and from Tehran.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
I'm losing my edge to the art-school Lagos 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 Lou Reed 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 The Music Machine to the grime kids.
I played it at the Hacienda.
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 Pere Ubu tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal techno 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 güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Juan Atkins,
Deutsch Amerikanische Freundschaft,
Radio Birdman,
The Barracudas,
Smog,
Bang On A Can,
The Birthday Party,
Larry & the Blue Notes,
Crash Course in Science,
Fela Kuti,
Wolf Eyes,
Sight & Sound,
Absolute Body Control,
Blossom Toes,
Marc Almond,
Alice Coltrane,
Joe Smooth,
Jesper Dahlback,
Todd Terry,
The Victims,
Masters at Work,
Gregory Isaacs,
E-Dancer,
The Pretty Things,
Procol Harum,
The Offenders,
Fluxion,
Funkadelic,
a-ha,
Jandek,
Brand Nubian,
Siouxsie and the Banshees,
OOIOO,
Andrew Hill,
The Associates,
the Normal,
Lou Christie,
The Grass Roots,
H. Thieme,
Heavy D & The Boyz,
Isaac Hayes,
Ronan,
Roger Hodgson,
Sun City Girls,
Soul II Soul,
Lightning Bolt,
Lalo Schifrin,
Roxette,
Cameo,
Kas Product,
Neil Young & Crazy Horse,
Soulsonic Force,
Donny Hathaway,
Grandmaster Flash,
Pussy Galore,
Lalann,
Gil Scott Heron,
Sparks,
Crispy Ambulance,
The Standells, The Standells, The Standells, The Standells.
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.