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 Niger and from Cairo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1973.
I'm losing my edge.
To all the kids in Columbus and Seoul.
I'm losing my edge to the art-school Philadelphia 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 synthesizer 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 Clear Light to the crunk 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 The Cosmic Jokers. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Camouflage 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Index,
Moebius,
Kas Product,
DeepChord presents Echospace,
Jesper Dahlbäck,
La Düsseldorf,
Pussy Galore,
Circle Jerks,
Bizarre Inc.,
Freddie Wadling,
Franke,
The Martian,
Delta 5,
Al Stewart,
Second Layer,
Radiopuhelimet,
Ituana,
Half Japanese,
David Axelrod,
Barrington Levy,
Khruangbin,
Fifty Foot Hose,
The Motions,
Ralphi Rosario,
The Selecter,
John Coltrane,
Magazine,
Thompson Twins,
The Mighty Diamonds,
Bobby Byrd,
L. Decosne,
The Move,
Heavy D & The Boyz,
B.T. Express,
Arcadia,
Rod Modell,
The Dead C,
The Blackbyrds,
the Fania All-Stars,
Interpol,
Connie Case,
Joey Negro,
Parry Music,
Throbbing Gristle,
Dennis Brown,
The Seeds,
Gregory Isaacs,
Roger Hodgson,
Audionom,
Be Bop Deluxe,
Joy Division,
Mary Jane Girls,
Minny Pops,
The Moody Blues,
Gil Scott Heron,
Jimmy McGriff,
Curtis Mayfield,
The Fall,
June Days,
Quantec,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.