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 Armenia and from Seoul.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Halifax and Toronto.
I'm losing my edge to the art-school Spokane 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 Human League practice in a loft in Sheffield.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Man Parrish to the funk kids.
I played it at the 40 Watt.
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 Gong. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Tomorrow 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Yaz,
Ituana,
Eli Mardock,
LL Cool J,
Jesper Dahlback,
Jeru the Damaja,
Gil Scott Heron,
Arthur Verocai,
Pere Ubu,
Half Japanese,
The Chocolate Watch Band,
Chrome,
Aural Exciters,
The Peanut Butter Conspiracy,
John Cale,
Prince Buster,
Funkadelic,
Althea and Donna,
Blake Baxter,
Letta Mbulu,
Crime,
Blancmange,
Adolescents,
Das Ding,
Wally Richardson,
Lou Reed,
Kauko Röyhkä ja Narttu,
Theoretical Girls,
Sticky Fingaz feat. Raekwon,
The Remains,
Agitation Free,
Gil Scott-Heron & Brian Jackson,
A Flock of Seagulls,
Lonnie Liston Smith,
The Gories,
Deadbeat,
L. Decosne,
The Kinks,
Terry Callier,
X-101,
Andrew Ashong & Theo Parrish,
It's A Beautiful Day,
The Human League,
Sister Nancy,
Magazine,
Country Teasers,
Royal Trux,
Morten Harket,
Tres Demented,
Depeche Mode,
The Litter,
KRS-One,
Supertramp,
Toni Rubio,
Icehouse,
Funky Four + One,
Essential Logic,
Country Joe & The Fish,
Freddie Wadling,
Mo-Dettes,
Visage,
Alphaville, Alphaville, Alphaville, Alphaville.
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.