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 Brazil and from Edmonton.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Lille 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 marimba 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 Fugazi to the disco kids.
I played it at the Astoria.
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 Kenny Larkin. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Basic Channel 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 '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Crash Course in Science,
Red Lorry Yellow Lorry,
The Slits,
Barclay James Harvest,
Magma,
The Barracudas,
Lyres,
Severed Heads,
Stiv Bators,
The Neon Judgement,
Crispian St. Peters,
The Selecter,
Grandmaster Flash and the Furious Five,
Yellowson,
Gong,
Dorothy Ashby,
Bobby Womack,
Roxette,
Vainqueur,
Cybotron,
Urselle,
Q and Not U,
Monolake,
Ajijia Myrayebe,
Stetsasonic,
Mission of Burma,
James White and The Blacks,
David Axelrod,
JFA,
Dawn Penn,
Aswad,
Nico,
La Düsseldorf,
Reuben Wilson,
Joy Division,
Judy Mowatt,
Lonnie Liston Smith,
Harmonia,
Kayak,
The Seeds,
Half Japanese,
Harry Pussy,
Johnny Clarke,
Matthew Halsall,
The Wake,
Brothers Johnson,
Dennis Brown,
Monks,
Ludus,
K-Klass,
Bootsy Collins,
Delta 5,
Hoover,
Ultimate Spinach,
Stereo Dub,
John Cale,
The Techniques,
Moebius,
Wighnomy Brothers & Robag Wruhme,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.