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 Romania and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1971.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Columbus 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 sitar 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 Lindisfarne to the rock kids.
I played it at the Roxy.
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 Kayak. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal disco 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 a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a DeepChord presents Echospace record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Masters at Work,
Mr. Review,
Camouflage,
Spandau Ballet,
Boz Scaggs,
Girls At Our Best!,
Q and Not U,
Jimmy McGriff,
Dark Day,
The Star Department,
Amon Düül II,
Byron Stingily,
The Victims,
Gong,
T. Rex,
Kool Moe Dee,
Don Cherry,
The Cure,
Sällskapet,
Deutsch Amerikanische Freundschaft,
Amazonics,
The Dirtbombs,
Soul II Soul,
Ohio Players,
Barry Ungar,
Magazine,
The Pop Group,
Hasil Adkins,
Tim Buckley,
Suburban Knight,
The West Coast Pop Art Experimental Band,
DJ Sneak,
The Trojans,
LL Cool J,
Rahsaan Roland Kirk,
MC5,
ABBA,
F. McDonald,
Pulsallama,
Beasts of Bourbon,
The Cramps,
Angels of Light & Akron/Family,
Be Bop Deluxe,
Ultra Naté,
Icehouse,
Lightning Bolt,
Shoche,
Siouxsie and the Banshees,
Thompson Twins,
Boredoms,
The New Christs,
The Monks,
Sunsets and Hearts,
The Smiths,
Bobby Sherman,
Orchestral Manoeuvres in the Dark,
Joe Finger,
Agitation Free,
Pharoah Sanders,
the Human League, the Human League, the Human League, the Human League.
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.