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 Uganda and from Tehran.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lyon and Copenhagen.
I'm losing my edge to the art-school Paris 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 güiro 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 Arcadia to the disco 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 Public Enemy. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
The Move,
The Durutti Column,
Kerri Chandler,
Fugazi,
Sugar Minott,
David Axelrod,
The Neon Judgement,
Cluster,
Surgeon,
Metal Thangz,
Alison Limerick,
Moby Grape,
Average White Band,
Oneida,
The Gap Band,
Pussy Galore,
Wighnomy Brothers & Robag Wruhme,
Sly & The Family Stone,
Lebanon Hanover,
Black Pus,
Man Eating Sloth,
Sam Rivers,
Black Flag,
Bad Manners,
Fela Kuti,
Make Up,
Yaz,
Silicon Teens,
Bob Dylan,
Reagan Youth,
Nick Cave & The Bad Seeds,
Fear,
Dark Day,
Bobby Hutcherson,
Inner City,
Banda Bassotti,
Scrapy,
Camouflage,
Mandrill,
Quantec,
Marvin Gaye,
Slick Rick,
Funkadelic,
Visage,
Richard Hell and the Voidoids,
Ultramagnetic MC's,
Arcadia,
The Blues Magoos,
Ajijia Myrayebe,
Echo & the Bunnymen,
Derrick Morgan,
The Fall,
London Community Gospel Choir,
Chris Corsano,
The Five Americans,
Soft Machine,
Cabaret Voltaire,
The Saints,
Captain Beefheart & His Magic Band,
Black Moon,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.