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 Luxembourg and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1970.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Cal Tjader 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 Camberwell Now. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Throbbing Gristle 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Victims,
Stiv Bators,
Lightning Bolt,
Electric Light Orchestra,
Marine Girls,
Amazonics,
Bill Near,
Urselle,
Kurtis Blow,
10cc,
Susan Cadogan,
John Foxx,
Byron Stingily,
Sixth Finger,
Grandmaster Flash and the Furious Five,
Flamin' Groovies,
The American Breed,
Gian Franco Pienzio,
Warsaw,
Gang Gang Dance,
The Electric Prunes,
The Last Poets,
Eric B and Rakim,
Fluxion,
Negative Approach,
Matthew Halsall,
Lizzy Mercier Descloux,
Bootsy Collins,
Gregory Isaacs,
Piero Umiliani,
Nico,
Lakeside,
The Names,
Quadrant,
The Pretty Things,
Barry Ungar,
Jawbox,
Oppenheimer Analysis,
Gabor Szabo,
Skarface,
The Fire Engines,
Blake Baxter,
Liliput,
The Busters,
Shuggie Otis,
DeepChord presents Echospace,
Albert Ayler,
Ash Ra Tempel,
Banda Bassotti,
Nation of Ulysses,
Moby Grape,
The Fall,
Gang Starr,
Roxy Music,
Second Layer,
Suburban Knight,
Jeff Mills,
Pharaoh Sanders and the Fire Engines,
Newcleus,
The Invisible,
Zapp,
Harmonia, Harmonia, Harmonia, Harmonia.
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.