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 Argentina and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1974.
I'm losing my edge.
To all the kids in Spokane and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Andrew Hill to the rap 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 Soft Cell. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Godley & Creme,
The Sound,
Man Eating Sloth,
Rosa Yemen,
Black Flag,
Traffic Nightmare,
The Human League,
Minor Threat,
Funkadelic,
Moebius,
Cybotron,
Stereo Dub,
Lalann,
Gang of Four,
Liliput,
Gerry Rafferty,
Susan Cadogan,
Brass Construction,
Nation of Ulysses,
Ken Boothe,
Y Pants,
Porter Ricks,
The West Coast Pop Art Experimental Band,
Mission of Burma,
Skriet,
Jawbox,
Lucky Dragons,
Pole,
Ponytail,
Robert Wyatt,
Deadbeat,
The Evens,
Crooked Eye,
The Gun Club,
Flash Fearless,
Buzzcocks,
Avey Tare's Slasher Flicks,
Super Lover Cee & Casanova Rud,
Yazoo,
the Swans,
The Index,
Roy Ayers,
Robert Görl,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ultra Naté,
Barbara Tucker,
Flipper,
The J.B.'s,
Agitation Free,
Roy Ayers Ubiquity,
Grandmaster Flash and the Furious Five,
Lafayette Afro Rock Band,
Skaos,
The Fire Engines,
The Walker Brothers,
The Men They Couldn't Hang,
The Red Krayola,
Dennis Brown,
the Slits,
Aaron Thompson,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.