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 Belize and from Hong Kong.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Calgary and London.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba 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 Grandmaster Flash and the Furious Five to the rap 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 Scrapy. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Mr. Review record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
The Walker Brothers,
KRS-One,
In Retrospect,
Infiniti,
Dark Day,
T.S.O.L.,
Massinfluence,
AZ,
Y Pants,
Lungfish,
Half Japanese,
Visage,
The Buckinghams,
Andrew Hill,
Audionom,
EPMD,
the Sonics,
Aloha Tigers,
Fat Boys,
The Sonics,
Maleditus Sound,
Main Source,
Bobbi Humphrey,
Hardrive,
The Motions,
Laurel Aitken,
Dorothy Ashby,
Warren Ellis,
Captain Beefheart & His Magic Band,
Lizzy Mercier Descloux,
Crash Course in Science,
Mantronix,
New Age Steppers,
Amon Düül,
Q65,
Gian Franco Pienzio,
Index,
Depeche Mode,
Kango’s Stein Massive,
The Vogues,
Susan Cadogan,
Ronan,
Isaac Hayes,
The Litter,
Reagan Youth,
H. Thieme,
Peter Gordon & Love of Life Orchestra,
Lee Hazlewood,
Rod Modell,
Barrington Levy,
Pussy Galore,
Au Pairs,
Gregory Isaacs,
Harpers Bizarre,
The Music Machine,
Vaughan Mason & Crew,
Alphaville,
Sonic Youth,
The Fortunes,
Ultravox, Ultravox, Ultravox, Ultravox.
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.