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 Libya and from Copenhagen.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Cairo.
I'm losing my edge to the art-school Philadelphia 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer 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 Bluetip to the jazz kids.
I played it at the Crocodile.
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 Electric Light Orchestra. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Ajijia Myrayebe 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Camron Feat. Jay Z And Juelz,
The Gladiators,
These Immortal Souls,
Sparks,
Tears for Fears,
Blancmange,
Steve Hackett,
Crispian St. Peters,
John Cale,
kango's stein massive,
The Mighty Diamonds,
T.S.O.L.,
Rekid,
Ultravox,
Swans,
Silicon Teens,
David McCallum,
LL Cool J,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sonic Youth,
Roxy Music,
the Association,
Guru Guru,
Matthew Halsall,
The Music Machine,
Masters at Work,
Gong,
the Slits,
Rapeman,
Anakelly,
Hoover,
Lizzy Mercier Descloux,
Cal Tjader,
Ronnie Foster,
The Blackbyrds,
Pussy Galore,
Spoonie Gee,
Lafayette Afro Rock Band,
Slave,
Althea and Donna,
Johnny Clarke,
Malaria!,
Buzzcocks,
Das Ding,
Hardrive,
Drexciya,
Yaz,
Liaisons Dangereuses,
Boogie Down Productions,
Aaron Thompson,
Goldenarms,
Motorama,
Metal Thangz,
The Vogues,
The New Christs,
Alton Ellis,
Red Lorry Yellow Lorry,
Byron Stingily,
Fort Wilson Riot,
Bush Tetras,
Rotary Connection,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.