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 Malawi and from Accra.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Manchester and Lyon.
I'm losing my edge to the art-school Philadelphia 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Traffic Nightmare to the disco kids.
I played it at the Astoria.
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 Chris & Cosey. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Siglo XX,
Adolescents,
48th St. Collective,
Brand Nubian,
Bob Dylan,
Suburban Knight,
World's Most,
Dave Gahan,
Bauhaus,
Joe Finger,
H. Thieme,
The Sound,
Johnny Osbourne,
The Angels of Light,
Absolute Body Control,
The Young Rascals,
Hardrive,
Sällskapet,
Gil Scott Heron,
Technova,
Royal Trux,
The Dirtbombs,
Crispian St. Peters,
Delta 5,
Sugar Minott,
Hoover,
Deepchord,
Jacob Miller,
Barbara Tucker,
Maurizio,
Pole,
One Last Wish,
The Birthday Party,
Janne Schatter,
Newcleus,
Beasts of Bourbon,
Cymande,
Porter Ricks,
Shuggie Otis,
John Lydon,
The New Christs,
Traffic Nightmare,
Susan Cadogan,
Fugazi,
The J.B.'s,
Crispy Ambulance,
Stetsasonic,
Sun Ra,
Ultravox,
Girls At Our Best!,
Boredoms,
Gary Puckett & The Union Gap,
Main Source,
Be Bop Deluxe,
Teenage Jesus and the Jerks,
Sandy B,
T. Rex,
Grey Daturas,
Outsiders,
Oppenheimer Analysis,
New York Dolls,
The Velvet Underground,
Oneida, Oneida, Oneida, Oneida.
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.