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 Antigua and from Copenhagen.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school Halifax 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 Infiniti to the electroclash kids.
I played it at the Spitz.
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 DJ Sneak. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Spoonie Gee 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 '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Cabaret Voltaire,
Severed Heads,
Lee Hazlewood,
The Moody Blues,
Kool G Rap & DJ Polo,
The Cure,
Röyhkä ja Rättö ja Lehtisalo,
Rosa Yemen,
Donald Byrd,
Liaisons Dangereuses,
Grandmaster Flash and the Furious Five,
Nick Fraelich,
Chris Corsano,
Ajijia Myrayebe,
Radio Birdman,
Monks,
Erykah Badu,
Swans,
Beasts of Bourbon,
Suicide,
Desert Stars,
Symarip,
The Remains,
Amon Düül,
Rhythim Is Rhythim,
Rekid,
The Fuzztones,
Fifty Foot Hose,
Inner City,
Grandmaster Flash,
Strawberry Alarm Clock,
Gabor Szabo,
John Cale,
Swell Maps,
The Monochrome Set,
The West Coast Pop Art Experimental Band,
The Move,
Tears for Fears,
Absolute Body Control,
John Coltrane,
Agitation Free,
Kauko Röyhkä ja Narttu,
Kayak,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
World's Most,
Suburban Knight,
Electric Light Orchestra,
Excepter,
Alphaville,
Oneida,
Camberwell Now,
Icehouse,
Lou Christie,
Thompson Twins,
Gregory Isaacs,
Josef K,
Girls At Our Best!,
Thee Headcoats,
Ralphi Rosario,
London Community Gospel Choir,
The Divine Comedy,
F. McDonald,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.