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 Zimbabwe and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Mexico City.
I'm losing my edge to the art-school Sao Paulo 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 snare 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 Japan to the rock kids.
I played it at CBGB's.
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 Television. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every The Wake 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Blake Baxter,
Magazine,
Lungfish,
London Community Gospel Choir,
Siglo XX,
John Foxx,
In Retrospect,
Swell Maps,
Lower 48,
Babytalk,
the Sonics,
Mad Mike,
Marshall Jefferson,
Piero Umiliani,
The Move,
Judy Mowatt,
Funkadelic,
Derrick May,
Roy Ayers Ubiquity,
Shuggie Otis,
Notorious BIG live in Amsterdam,
James Chance & The Contortions,
Rhythim Is Rhythim,
Eden Ahbez,
The J.B.'s,
John Cale,
Echo & the Bunnymen,
New Age Steppers,
Mr. Review,
KRS-One,
Barry Ungar,
Mandrill,
Gerry Rafferty,
Bobby Hutcherson,
Davy DMX,
Deakin,
Niagra,
Lyres,
Simply Red,
Negative Approach,
Peter and Kerry,
Amon Düül II,
Deadbeat,
Fugazi,
Justin Hinds & The Dominoes,
Marvin Gaye,
Connie Case,
Dual Sessions,
Grauzone,
Livin' Joy,
Technova,
Barbara Tucker,
Michelle Simonal,
The Angels of Light,
Spoonie Gee,
The Knickerbockers,
X-Ray Spex,
Au Pairs,
Byron Stingily,
Crispian St. Peters,
Vaughan Mason & Crew,
Section 25, Section 25, Section 25, Section 25.
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.