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 Mali and from Manila.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Jakarta.
I'm losing my edge to the art-school Salvador 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 Buzzcocks practice in a loft in Bolton.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Camberwell Now to the techno 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 Cymande. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Alison Limerick,
Pantytec,
Marcia Griffiths,
Aaron Thompson,
Terry Callier,
Nils Olav,
Bob Dylan,
Qualms,
The Busters,
Junior Murvin,
Lakeside,
Pierre Henry,
Magazine,
The Pop Group,
Quando Quango,
EPMD,
Roxy Music,
The Toasters,
Iggy Pop,
T.S.O.L.,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Q and Not U,
Lizzy Mercier Descloux,
Nation of Ulysses,
Scan 7,
Cluster,
the Sonics,
The Litter,
Bang On A Can,
The Music Machine,
Gang of Four,
June Days,
Hashim,
Byron Stingily,
Dark Day,
Saccharine Trust,
Yellowson,
The Neon Judgement,
Icehouse,
Tears for Fears,
Shoche,
Bauhaus,
Janne Schatter,
Pere Ubu,
The Divine Comedy,
Pharoah Sanders,
Robert Wyatt,
Ornette Coleman,
Bill Wells,
The Names,
Fear,
Peter Gordon & Love of Life Orchestra,
Bang on a Can All-Stars,
Ultra Naté,
Strawberry Alarm Clock,
Yusef Lateef,
Bobby Hutcherson,
Half Japanese,
Kings Of Tomorrow,
D'Angelo,
Siouxsie and the Banshees,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.