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 Ukraine and from Mexico City.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Halifax and Manila.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Evens to the dance kids.
I played it at the Spitz.
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 The Evens. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal techno 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 marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Connie Case,
Khruangbin,
Kayak,
Porter Ricks,
Excepter,
The Cramps,
Royal Trux,
Whodini,
The J.B.'s,
Sad Lovers and Giants,
Buzzcocks,
Henry Cow,
Freddie Wadling,
Negative Approach,
John Coltrane,
Eurythmics,
Deutsch Amerikanische Freundschaft,
Altered Images,
Prince Buster,
Nico,
Cameo,
the Soft Cell,
The Electric Prunes,
L. Decosne,
Hardrive,
James Chance & The Contortions,
Big Daddy Kane,
Delta 5,
Nils Olav,
Lucky Dragons,
Sixth Finger,
The Beau Brummels,
Radiohead,
Terror Squad Feat. Camron,
Parry Music,
Marc Romboy vs. Booka Shade,
Fluxion,
Major Organ And The Adding Machine,
Sandy B,
Rapeman,
Bootsy Collins,
Robert Görl,
Yellowson,
Bobby Sherman,
CMW,
Avey Tare & Kría Brekkan,
Drive Like Jehu,
The Move,
Maurizio,
KRS-One,
Judy Mowatt,
Flipper,
Scan 7,
ABBA,
Tomorrow,
Larry & the Blue Notes,
Can,
Scratch Acid,
Marvin Gaye,
Laurel Aitken,
Quadrant,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.