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 Belize and from Calgary.
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 1970.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Bremen 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Soft Cell to the punk 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 Jimmy McGriff. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
The Grass Roots,
Anthony Braxton,
Moby Grape,
Ten City,
Gabor Szabo,
Magazine,
Terrestrial Tones,
Girls At Our Best!,
Scion,
Pere Ubu,
Charles Mingus,
Warsaw,
Infiniti,
Heavy D & The Boyz,
Sun Ra,
Peter Gordon & Love of Life Orchestra,
Ultravox,
John Coltrane,
Ken Boothe,
Alice Coltrane,
Cal Tjader,
Black Sheep,
Rakim,
Davy DMX,
The Cramps,
Curtis Mayfield,
David McCallum,
Darondo,
Super Lover Cee & Casanova Rud,
Kerri Chandler,
Derrick May,
Kool G Rap & DJ Polo,
Supertramp,
Marine Girls,
Pharoah Sanders,
Minny Pops,
Rites of Spring,
Anakelly,
Max Romeo,
Absolute Body Control,
Radiopuhelimet,
Subhumans,
Flash Fearless,
Josef K,
New York Dolls,
Pierre Henry,
The Zeros,
Flamin' Groovies,
Soul II Soul,
The Blues Magoos,
Loose Ends,
Groovy Waters,
Strawberry Alarm Clock,
Pantaleimon,
Mary Jane Girls,
Sex Pistols,
Lower 48,
Ronnie Foster,
kango's stein massive,
This Heat,
Thee Headcoats,
Susan Cadogan,
Ice-T, Ice-T, Ice-T, Ice-T.
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.