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 Japan and from London.
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 1975.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Mexico City 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Associates to the electroclash kids.
I played it at the 40 Watt.
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 Reuben Wilson. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Barclay James Harvest record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Country Teasers,
The Litter,
F. McDonald,
The Flesh Eaters,
Ken Boothe,
Notorious BIG live in Amsterdam,
Groovy Waters,
Newcleus,
Heavy D & The Boyz,
Hashim,
June Days,
Q65,
Pere Ubu,
Aswad,
Ronan,
The Stooges,
Delta 5,
UT,
Minnie Riperton,
The Fire Engines,
Brothers Johnson,
Parry Music,
Inner City,
Sly & The Family Stone,
Kool Moe Dee,
The Techniques,
Hot Snakes,
The New Christs,
Eurythmics,
Gian Franco Pienzio,
Fifty Foot Hose,
The Black Dice,
Cal Tjader,
The Young Rascals,
Sandy B,
Warsaw,
Motorama,
Magma,
Black Moon,
Louis and Bebe Barron,
Unrelated Segments,
Nik Kershaw,
Jeff Lynne,
Nirvana,
DNA,
Joe Finger,
Curtis Mayfield,
Dave Gahan,
Throbbing Gristle,
Soulsonic Force,
Japan,
Fort Wilson Riot,
DJ Sneak,
The Offenders,
Harry Pussy,
The Cowsills,
Selector Dub Narcotic,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Toasters,
Wighnomy Brothers & Robag Wruhme,
The Residents,
Roxette,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.