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 China and from Lyon.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Portland and Salvador.
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 mellotron 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 Girls At Our Best! to the electroclash kids.
I played it at Cafe Wha.
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 Nation of Ulysses. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Cybotron record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators 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?
Strawberry Alarm Clock,
Basic Channel,
Ornette Coleman,
Deutsch Amerikanische Freundschaft,
Pere Ubu,
The Cramps,
Gary Puckett & The Union Gap,
Quadrant,
Brass Construction,
Saccharine Trust,
Electric Light Orchestra,
Avey Tare & Kría Brekkan,
Boogie Down Productions,
Howard Jones,
Sarah Menescal,
Model 500,
Danielle Patucci,
The Mummies,
The Toasters,
10cc,
Qualms,
Thinking Fellers Union Local 282,
Ultravox,
Sugar Minott,
Drexciya,
Average White Band,
X-Ray Spex,
Iggy Pop,
Eyeless In Gaza,
The Move,
Rakim,
Rites of Spring,
Bob Dylan,
Amon Düül,
Michelle Simonal,
The Chocolate Watch Band,
Derrick Morgan,
Cybotron,
the Slits,
The Human League,
Eurythmics,
The Angels of Light,
Kurtis Blow,
Kaleidoscope,
Ronan,
Warren Ellis,
New York Dolls,
Black Moon,
Ossler,
Erykah Badu,
Gang of Four,
Tropical Tobacco,
Major Organ And The Adding Machine,
Chrome,
Nico,
Talk Talk,
Deadbeat,
Lungfish,
The Gladiators,
The Golliwogs,
Massinfluence,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.