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 Vanuatu and from Mexico City.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Mumbai and Mexico City.
I'm losing my edge to the art-school Salvador 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 marimba 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 Normal to the punk 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 Delon & Dalcan. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every X-Ray Spex 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Andrew Hill,
Babytalk,
Erasure,
cv313,
Ultramagnetic MC's,
Urselle,
U.S. Maple,
Skriet,
Reuben Wilson,
Judy Mowatt,
Glenn Branca,
Sexual Harrassment,
The Walker Brothers,
Mary Jane Girls,
X-Ray Spex,
The Gap Band,
Mo-Dettes,
The Golliwogs,
The Zeros,
Severed Heads,
The Saints,
Lakeside,
The Dead C,
Roxette,
The Remains,
Kaleidoscope,
Eric Copeland,
The Buckinghams,
Fat Boys,
Henry Cow,
Bizarre Inc.,
Crooked Eye,
Subhumans,
Leonard Cohen,
Ash Ra Tempel,
Red Lorry Yellow Lorry,
Dennis Brown,
The Index,
Ornette Coleman,
Harmonia,
Country Teasers,
Black Sheep,
Jerry's Kids,
Amon Düül II,
Mission of Burma,
Warsaw,
Eric Dolphy,
Rhythm & Sound,
A Flock of Seagulls,
Nico,
Sight & Sound,
The Techniques,
The Electric Prunes,
The Angels of Light,
Sex Pistols,
Can,
Rakim,
Deepchord,
Zapp,
FM Einheit,
Sister Nancy,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.