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 Grenada and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Bremen 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 David Bowie 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 Major Organ And The Adding Machine to the techno kids.
I played it at the Troubador.
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 Minny Pops. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Harpers Bizarre 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin 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 spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Wally Richardson,
Ronan,
Man Eating Sloth,
The Fuzztones,
Rekid,
Josef K,
Newcleus,
Skarface,
Jacques Brel,
Black Pus,
Second Layer,
John Holt,
ABC,
Carl Craig,
Eddi Front,
the Slits,
Man Parrish,
Bad Manners,
Electric Prunes,
Rotary Connection,
The Red Krayola,
The Monks,
Michelle Simonal,
Dorothy Ashby,
Wasted Youth,
Make Up,
Half Japanese,
The Gories,
Judy Mowatt,
Sparks,
Davy DMX,
Mandrill,
Nik Kershaw,
In Retrospect,
the Swans,
Tubeway Army,
Main Source,
Bronski Beat,
Gil Scott Heron,
Teenage Jesus and the Jerks,
Rhythim Is Rhythim,
Fad Gadget,
Bobby Sherman,
Brick,
Pylon,
Cecil Taylor,
Camron Feat. Memphis Bleek And Beenie Seigel,
The New Christs,
Grey Daturas,
Slave,
Moss Icon,
It's A Beautiful Day,
Faraquet,
The Cosmic Jokers,
The Raincoats,
Unrelated Segments,
Nils Olav,
Susan Cadogan,
Panda Bear,
Colin Newman,
Fluxion,
Blossom Toes,
Wings,
Oneida, Oneida, Oneida, Oneida.
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.