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 Costa Rica and from Toronto.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
I'm losing my edge to the art-school Paris 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 chamberlin 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 The Cure to the dance kids.
I played it at Cafe Wha.
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 La Düsseldorf. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
Heaven 17,
Ash Ra Tempel,
Average White Band,
Magma,
Soul II Soul,
Sexual Harrassment,
Accadde A,
Bluetip,
Roy Ayers,
Ronnie Foster,
The Human League,
Subhumans,
The Sonics,
The J.B.'s,
Alison Limerick,
Laurel Aitken,
Jerry's Kids,
Country Joe & The Fish,
Metal Thangz,
the Human League,
the Bar-Kays,
The Chocolate Watch Band,
Blake Baxter,
Bobby Womack,
The Searchers,
Nick Fraelich,
Throbbing Gristle,
Rahsaan Roland Kirk,
Stetsasonic,
Model 500,
The Index,
Ludus,
The Mighty Diamonds,
Orchestral Manoeuvres in the Dark,
Josef K,
Deakin,
Fela Kuti,
The Fortunes,
Cal Tjader,
Supertramp,
The Doors,
Andrew Ashong & Theo Parrish,
Amon Düül II,
the Soft Cell,
Marvin Gaye,
The Misunderstood,
Bad Manners,
Gastr Del Sol,
DNA,
Tres Demented,
The Dirtbombs,
Arcadia,
Grauzone,
Pulsallama,
Barrington Levy,
The Leaves,
Loose Ends,
Gang Gang Dance,
Sad Lovers and Giants,
Schoolly D,
Marc Romboy vs. Booka Shade,
Larry & the Blue Notes,
X-101, X-101, X-101, X-101.
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.