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 France and from Manila.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 Portland and Johannesburg.
I'm losing my edge to the art-school Winnipeg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 Kenny Larkin to the disco kids.
I played it at Trash.
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 Audionom. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
DNA,
JFA,
Big Daddy Kane,
Wings,
Bush Tetras,
Ornette Coleman,
Section 25,
Von Mondo,
Roger Hodgson,
Fad Gadget,
Louis and Bebe Barron,
Ronan,
U.S. Maple,
Ossler,
Barry Ungar,
the Soft Cell,
Kings Of Tomorrow,
Lalann,
Youth Brigade,
The Music Machine,
Man Parrish,
Silicon Teens,
B.T. Express,
Ludus,
The Barracudas,
Toni Rubio,
Gerry Rafferty,
Kauko Röyhkä ja Narttu,
Suburban Knight,
the Sonics,
Harmonia,
Laurel Aitken,
Bluetip,
The Doors,
Maurizio,
Pylon,
Matthew Halsall,
Todd Rundgren,
The Modern Lovers,
Cameo,
a-ha,
Clear Light,
X-101,
The American Breed,
The Fuzztones,
Franke,
John Holt,
Lizzy Mercier Descloux,
The Alarm Clocks,
Gang Gang Dance,
Radio Birdman,
Jandek,
The Pretty Things,
The Jesus and Mary Chain,
Marmalade,
Nico,
Bronski Beat,
Dave Gahan,
La Düsseldorf,
Joyce Sims,
Essential Logic,
Jacob Miller,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.