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 Macedonia and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Tokyo 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 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 Urselle to the dance kids.
I played it at CBGB's.
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 Hot Snakes. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Public Enemy 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 '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
New York Dolls,
Tubeway Army,
Urselle,
The Fortunes,
LL Cool J,
The Birthday Party,
Dorothy Ashby,
The Modern Lovers,
Altered Images,
Junior Murvin,
The Doors,
New Age Steppers,
Lafayette Afro Rock Band,
F. McDonald,
Glambeats Corp.,
The Moleskins,
Eurythmics,
Q and Not U,
Kaleidoscope,
The Chocolate Watch Band,
OOIOO,
Blancmange,
Wasted Youth,
The Motions,
Toni Rubio,
T. Rex,
Graham Central Station,
Simply Red,
Frankie Knuckles,
Pet Shop Boys,
Los Fastidios,
Piero Umiliani,
Siouxsie and the Banshees,
Roy Ayers,
D'Angelo,
DJ Style,
Iggy Pop,
Cheater Slicks,
Thinking Fellers Union Local 282,
the Human League,
Sun Ra,
Bauhaus,
Ronan,
Rhythm & Sound,
David Axelrod,
Fluxion,
The Skatalites,
Schoolly D,
The Detroit Cobras,
the Soft Cell,
Barclay James Harvest,
Monks,
Ash Ra Tempel,
Faraquet,
The Flesh Eaters,
Alphaville,
DJ Sneak,
ABC,
Isaac Hayes,
London Community Gospel Choir,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.