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 Latvia and from Houston.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Accra.
I'm losing my edge to the art-school Edmonton 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 organ 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 Gary Puckett & The Union Gap to the disco 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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
The Birthday Party,
Monks,
Kings Of Tomorrow,
The Mighty Diamonds,
R.M.O.,
Cheater Slicks,
Shuggie Otis,
Buzzcocks,
Funky Four + One,
Alice Coltrane,
The Skatalites,
Oppenheimer Analysis,
Erasure,
Hardrive,
The Sonics,
Agent Orange,
Arcadia,
Banda Bassotti,
Rites of Spring,
New Order,
Fear,
Panda Bear,
Marcia Griffiths,
Fluxion,
Chris & Cosey,
Bill Near,
Ponytail,
Dead Boys,
Second Layer,
Junior Murvin,
Idris Muhammad,
The Monochrome Set,
DeepChord presents Echospace,
Selector Dub Narcotic,
Eric B and Rakim,
Oneida,
David McCallum,
The Saints,
Guru Guru,
T.S.O.L.,
Dawn Penn,
Sugar Minott,
Gerry Rafferty,
Ludus,
Peter & Gordon,
John Coltrane,
Grandmaster Flash and the Furious Five,
The Moody Blues,
Pierre Henry,
The Happenings,
Scientists,
The J.B.'s,
The Five Americans,
Eyeless In Gaza,
La Düsseldorf,
Danielle Patucci,
Morten Harket,
Electric Prunes,
Skriet,
Avey Tare,
OOIOO, OOIOO, OOIOO, OOIOO.
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.