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 Mongolia and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
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 808 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 Deutsch Amerikanische Freundschaft to the rock kids.
I played it at the 40 Watt.
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 Scion. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every KRS-One 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Anthony Braxton,
Marine Girls,
Gary Puckett & The Union Gap,
Minutemen,
Pulsallama,
Icehouse,
T. Rex,
Mr. Review,
James Chance & The Contortions,
The Cramps,
Cybotron,
Masters at Work,
Wolf Eyes,
Monks,
Moss Icon,
Young Marble Giants,
Selector Dub Narcotic,
Henry Cow,
Audionom,
The Slackers,
Graham Central Station,
48th St. Collective,
Ken Boothe,
Oneida,
Swans,
The Litter,
Lafayette Afro Rock Band,
Scientists,
The Blues Magoos,
Brothers Johnson,
Frankie Knuckles,
The Five Americans,
Bobby Hutcherson,
Kayak,
Super Lover Cee & Casanova Rud,
Tomorrow,
Swell Maps,
Deutsch Amerikanische Freundschaft,
Byron Stingily,
Roy Ayers,
The Associates,
Mary Jane Girls,
Morten Harket,
Flash Fearless,
The Gladiators,
Kool Moe Dee,
Tubeway Army,
Todd Rundgren,
Magazine,
The Searchers,
Kenny Larkin,
Royal Trux,
Bobby Womack,
John Holt,
Electric Light Orchestra,
The Monks,
The Jesus and Mary Chain,
Hoover,
Ultimate Spinach,
The Red Krayola,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.