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 Eritrea and from Mumbai.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Vogues to the jazz kids.
I played it at the Hacienda.
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 Electric Light Orchestra. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every The Detroit Cobras 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Connie Case,
Mission of Burma,
ABC,
A Flock of Seagulls,
E-Dancer,
Dark Day,
Deepchord,
Ornette Coleman,
Negative Approach,
Los Fastidios,
Excepter,
Graham Central Station,
Ten City,
Sonny Sharrock,
Throbbing Gristle,
K-Klass,
Tubeway Army,
Pierre Henry,
Audionom,
Bronski Beat,
Yusef Lateef,
Kerri Chandler,
Section 25,
The Litter,
Sex Pistols,
Cheater Slicks,
Dorothy Ashby,
Althea and Donna,
X-Ray Spex,
Minor Threat,
Dave Gahan,
Newcleus,
Ohio Players,
The Monks,
Interpol,
Yaz,
8 Eyed Spy,
Ultra Naté,
Pharaoh Sanders and the Fire Engines,
The American Breed,
Roxette,
Pylon,
Marmalade,
The Fall,
The Cure,
Funkadelic,
Gregory Isaacs,
Marvin Gaye,
Pantytec,
Flamin' Groovies,
Sly & The Family Stone,
cv313,
Crooked Eye,
Lou Reed & John Cale,
Bobby Womack,
Marc Romboy vs. Booka Shade,
Simply Red,
The Real Kids,
Red Lorry Yellow Lorry,
Gang of Four,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.