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 Zambia and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
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 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 Art Ensemble Of Chicago to the disco 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 Lower 48. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Inner City 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Ash Ra Tempel,
Y Pants,
Country Teasers,
Sandy B,
Vladislav Delay,
Rapeman,
Cymande,
The Busters,
The Barracudas,
the Human League,
Crash Course in Science,
John Cale,
Roger Hodgson,
Don Cherry,
JFA,
Flamin' Groovies,
Marvin Gaye,
KRS-One,
The Sisters of Mercy,
Duran Duran,
The American Breed,
Das Ding,
Gil Scott-Heron & Brian Jackson,
UT,
Half Japanese,
Au Pairs,
Fifty Foot Hose,
The Last Poets,
Kurtis Blow,
PIL,
Thinking Fellers Union Local 282,
Motorama,
Sixth Finger,
Vainqueur,
Jacob Miller,
The Associates,
Ultravox,
Brand Nubian,
The Martian,
Gang Gang Dance,
Parry Music,
Technova,
Lalo Schifrin,
Bobby Sherman,
Rites of Spring,
Television,
Dark Day,
Erasure,
Dawn Penn,
Cybotron,
The Cramps,
Kool G Rap & DJ Polo,
Con Funk Shun,
Hot Snakes,
Connie Case,
Wally Richardson,
Blancmange,
Lebanon Hanover,
The Residents,
Stockholm Monsters,
The Victims, The Victims, The Victims, The Victims.
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.