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 Bahamas and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Philadelphia and New York.
I'm losing my edge to the art-school Madrid 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 The Index to the dance 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 H. Thieme. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Fear,
Yaz,
Section 25,
Man Eating Sloth,
Q65,
The Happenings,
The Standells,
Kevin Saunderson,
Easy Going,
Flipper,
Nirvana,
David McCallum,
The Smoke,
Johnny Clarke,
Smog,
Alphaville,
Notorious Big And Bone Thugs,
Infiniti,
The Zeros,
Interpol,
Derrick Morgan,
Manfred Mann's Earth Band,
Lyres,
Super Lover Cee & Casanova Rud,
Hot Snakes,
Crash Course in Science,
Sandy B,
Dennis Brown,
Brass Construction,
Justin Hinds & The Dominoes,
The Dave Clark Five,
Soulsonic Force,
Rowland S Howard / Lydia Lunch,
Lightning Bolt,
A Flock of Seagulls,
Con Funk Shun,
Bad Manners,
Bronski Beat,
Saccharine Trust,
Eric B and Rakim,
A Certain Ratio,
Eurythmics,
The Moleskins,
Echospace,
The Wake,
Oblivians,
Joe Smooth,
Heaven 17,
Peter Gordon & Love of Life Orchestra,
The Names,
Richard Hell and the Voidoids,
Eric Copeland,
Loose Ends,
Big Daddy Kane,
Red Lorry Yellow Lorry,
Laurel Aitken,
The Seeds,
The Stooges,
Brick,
Hardrive, Hardrive, Hardrive, Hardrive.
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.