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 Dominican Republic and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Cairo 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Newcleus to the disco 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 Yaz. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Lebanon Hanover 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
John Foxx,
the Normal,
Sad Lovers and Giants,
The Seeds,
Major Organ And The Adding Machine,
Stiv Bators,
Fatback Band,
Charles Mingus,
Mandrill,
Howard Jones,
Bill Near,
Cameo,
New Age Steppers,
H. Thieme,
The Leaves,
Country Joe & The Fish,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Sight & Sound,
Red Lorry Yellow Lorry,
Soft Machine,
Das Ding,
Lindisfarne,
Frankie Knuckles,
Y Pants,
Crime,
The Sisters of Mercy,
The Smiths,
Ash Ra Tempel,
Sonic Youth,
The Jesus and Mary Chain,
Oblivians,
Surgeon,
Aural Exciters,
Kenny Larkin,
Depeche Mode,
Slave,
The J.B.'s,
Bang On A Can,
Gang Starr,
Strawberry Alarm Clock,
June of 44,
Gregory Isaacs,
Soft Cell,
Delta 5,
Kerrie Biddell,
Sparks,
Tommy Roe,
Livin' Joy,
Notorious Big And Bone Thugs,
Lee Hazlewood,
Ken Boothe,
Yaz,
Marvin Gaye,
The Index,
Thompson Twins,
It's A Beautiful Day,
The American Breed,
Von Mondo,
The Monochrome Set,
Sarah Menescal,
The Slits,
The Cramps, The Cramps, The Cramps, The Cramps.
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.