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 Bolivia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school Manila 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Fortunes to the dance 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 Barclay James Harvest. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Joensuu 1685 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Japan,
cv313,
Pussy Galore,
PIL,
Quadrant,
Hot Snakes,
Can,
The Shadows of Knight,
Rhythim Is Rhythim,
A Flock of Seagulls,
Gil Scott Heron,
Freddie Wadling,
Ornette Coleman,
Public Image Ltd.,
Buzzcocks,
The Alarm Clocks,
Ice-T,
Schoolly D,
Rosa Yemen,
Moby Grape,
X-Ray Spex,
the Association,
Country Joe & The Fish,
Selector Dub Narcotic,
Massinfluence,
Notorious Big And Bone Thugs,
Brand Nubian,
Black Pus,
Lakeside,
Delta 5,
Surgeon,
The Mummies,
Accadde A,
Sarah Menescal,
the Sonics,
Nik Kershaw,
Pharoah Sanders,
The Sound,
Simply Red,
Fort Wilson Riot,
The Moody Blues,
Ronan,
Soulsonic Force,
Notorious BIG live in Amsterdam,
Jesper Dahlback,
Leonard Cohen,
Robert Hood,
Mantronix,
Delon & Dalcan,
Oppenheimer Analysis,
John Coltrane,
Half Japanese,
Eurythmics,
The Motions,
Faust,
Lee Hazlewood,
Rahsaan Roland Kirk,
Agitation Free,
Joensuu 1685,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.