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 Greece and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Halifax and Paris.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the sitar 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 Dark Day to the dance 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 Royal Trux. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
The Fall,
Sad Lovers and Giants,
Cameo,
The Music Machine,
Lizzy Mercier Descloux,
Young Marble Giants,
K-Klass,
Main Source,
Accadde A,
David McCallum,
Frankie Knuckles,
The Cowsills,
Audionom,
A Flock of Seagulls,
Yellowson,
Kaleidoscope,
Jeff Mills,
Red Lorry Yellow Lorry,
Nas,
London Community Gospel Choir,
Subhumans,
World's Most,
Judy Mowatt,
Soft Machine,
DJ Style,
New Order,
D'Angelo,
PIL,
Black Flag,
Crispy Ambulance,
Sly & The Family Stone,
Kurtis Blow,
Tropical Tobacco,
The Move,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marshall Jefferson,
Ultra Naté,
Gang Green,
Slick Rick,
Cluster,
Chrome,
The Cure,
Theoretical Girls,
The Wake,
Sugar Minott,
The Modern Lovers,
Thee Headcoats,
Stiv Bators,
Archie Shepp,
Barry Ungar,
The Dead C,
Groovy Waters,
June of 44,
Radiopuhelimet,
The Golliwogs,
Moby Grape,
the Bar-Kays,
The Tremeloes,
Selector Dub Narcotic,
ABBA,
DeepChord presents Echospace,
Kerrie Biddell,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.