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 Gambia and from Edmonton.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Taipei 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Pantytec to the funk kids.
I played it at the Troubador.
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 United States of America. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Lindisfarne,
H. Thieme,
Gang Starr,
Jimmy McGriff,
UT,
Letta Mbulu,
Scan 7,
MC5,
Inner City,
Brick,
Jandek,
Gil Scott Heron,
Dave Gahan,
Blake Baxter,
Sexual Harrassment,
La Düsseldorf,
The Trojans,
Pole,
The Music Machine,
Babytalk,
Fluxion,
Electric Light Orchestra,
Archie Shepp,
The Motions,
Make Up,
Chris Corsano,
The Cowsills,
These Immortal Souls,
Deepchord,
Sun Ra Arkestra,
Jeff Mills,
David Bowie,
Gong,
Agent Orange,
Section 25,
Yazoo,
Mars,
Bang On A Can,
Masters at Work,
Danielle Patucci,
Eric B and Rakim,
Severed Heads,
Sad Lovers and Giants,
Joe Smooth,
Magma,
Spandau Ballet,
the Bar-Kays,
Agitation Free,
Bluetip,
Mark Hollis,
Soft Cell,
The Names,
Gil Scott-Heron & Brian Jackson,
Kas Product,
World's Most,
Stereo Dub,
Barrington Levy,
The Zeros,
Scrapy,
Kevin Saunderson,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.