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 Sudan and from Spokane.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Johannesburg 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 Knickerbockers to the jazz kids.
I played it at the Troubador.
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 Mr. Review. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
Harpers Bizarre,
Röyhkä ja Rättö ja Lehtisalo,
Depeche Mode,
Visionaries,LMNO, T- Love & Iriscience,
Sparks,
Eli Mardock,
Cameo,
Faust,
Lyres,
L. Decosne,
Gang Gang Dance,
Jeff Mills,
The Dirtbombs,
Tres Demented,
JFA,
Public Image Ltd.,
Robert Wyatt,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Brass Construction,
The Grass Roots,
Sandy B,
The Monochrome Set,
Monks,
kango's stein massive,
Letta Mbulu,
Ronan,
Wire,
Ponytail,
Gregory Isaacs,
X-101,
Metal Thangz,
Fat Boys,
The Young Rascals,
Ohio Players,
Boz Scaggs,
CMW,
Icehouse,
The Divine Comedy,
Bill Wells,
Magazine,
Marmalade,
The Zeros,
Juan Atkins,
Supertramp,
Niagra,
Sonic Youth,
the Slits,
Siouxsie and the Banshees,
The Fugs,
Babytalk,
Jeff Lynne,
La Düsseldorf,
Drive Like Jehu,
Neil Young & Crazy Horse,
Oppenheimer Analysis,
Faraquet,
The Mojo Men,
Newcleus,
Rahsaan Roland Kirk,
June Days,
Big Daddy Kane,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.