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 Botswana and from New York.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Houston.
I'm losing my edge to the art-school Winnipeg 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Tim Buckley to the grunge 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 Stockholm Monsters. All the underground hits.
All Wolf Eyes tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal electroclash 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 a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Fort Wilson Riot,
T.S.O.L.,
Wighnomy Brothers & Robag Wruhme,
Scan 7,
Half Japanese,
Erasure,
Gichy Dan,
Dorothy Ashby,
Rhythim Is Rhythim,
Avey Tare's Slasher Flicks,
Lee Hazlewood,
Bill Near,
Kool Moe Dee,
The Misunderstood,
The Mighty Diamonds,
Andrew Ashong & Theo Parrish,
Circle Jerks,
The Dave Clark Five,
Lou Christie,
a-ha,
Junior Murvin,
Blancmange,
Rahsaan Roland Kirk,
X-101,
Procol Harum,
The West Coast Pop Art Experimental Band,
La Düsseldorf,
Kayak,
Dr. Dre and Snoop Doggy Dog,
X-102,
Scott Walker,
Sugar Minott,
Desert Stars,
Khruangbin,
Jesper Dahlback,
Delon & Dalcan,
The Names,
Notorious Big And Bone Thugs,
Model 500,
DJ Style,
Banda Bassotti,
Maurizio,
Sexual Harrassment,
Aural Exciters,
Reuben Wilson,
Fear,
Crooked Eye,
Negative Approach,
Althea and Donna,
Wire,
Lightning Bolt,
Massinfluence,
Art Ensemble Of Chicago,
Black Pus,
Sight & Sound,
The Moody Blues,
Marvin Gaye,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.