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 Cameroon and from Toronto.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Madrid and Mexico City.
I'm losing my edge to the art-school Manila 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 sitar 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 X-101 to the disco 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 Audionom. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal disco 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 guitar and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Schoolly D,
Cymande,
Wighnomy Brothers & Robag Wruhme,
X-Ray Spex,
Peter and Kerry,
Notorious Big And Bone Thugs,
Soft Cell,
The Velvet Underground,
Selector Dub Narcotic,
Niagra,
Traffic Nightmare,
The Happenings,
Steve Hackett,
Dawn Penn,
Echospace,
Khruangbin,
Justin Hinds & The Dominoes,
Johnny Clarke,
The Durutti Column,
Kevin Saunderson,
Eddi Front,
John Cale,
Aswad,
Eyeless In Gaza,
Country Teasers,
Warren Ellis,
Glenn Branca,
Art Ensemble Of Chicago,
Sun Ra Arkestra,
Heaven 17,
The Modern Lovers,
The Shadows of Knight,
Bill Wells,
Neu!,
Kaleidoscope,
Lower 48,
In Retrospect,
Sugar Minott,
FM Einheit,
Oneida,
Magazine,
The Pop Group,
Lucky Dragons,
Ultimate Spinach,
Visage,
Crispian St. Peters,
Porter Ricks,
Negative Approach,
Electric Prunes,
Roxy Music,
Reuben Wilson,
Quando Quango,
Marmalade,
The Fuzztones,
Rekid,
Robert Görl,
Nick Fraelich,
Malaria!,
The Associates,
Pole, Pole, Pole, Pole.
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.