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 Bahrain and from Manchester.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 808 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 The Real Kids 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 Flash Fearless. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Lucky Dragons 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 '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Tears for Fears,
Blossom Toes,
Tom Boy,
The Skatalites,
Hashim,
The Grass Roots,
The Count Five,
Pharaoh Sanders and the Fire Engines,
Theoretical Girls,
Public Image Ltd.,
Bobbi Humphrey,
Kayak,
Clear Light,
Peter & Gordon,
The Cramps,
Spandau Ballet,
June Days,
The Doobie Brothers,
Moby Grape,
Traffic Nightmare,
Babytalk,
B.T. Express,
Malaria!,
Robert Hood,
Depeche Mode,
Television Personalities,
Yellowson,
Roy Ayers,
Johnny Osbourne,
Radiopuhelimet,
Average White Band,
Rites of Spring,
Bobby Hutcherson,
The Fortunes,
Freddie Wadling,
The Birthday Party,
The Kinks,
Howard Jones,
Deadbeat,
Saccharine Trust,
Notorious Big And Bone Thugs,
F. McDonald,
Al Stewart,
Reuben Wilson,
David Axelrod,
Eurythmics,
Gang Gang Dance,
Stiv Bators,
Visionaries,LMNO, T- Love & Iriscience,
Barbara Tucker,
Gerry Rafferty,
Bobby Sherman,
Audionom,
Nik Kershaw,
Marvin Gaye,
Goldenarms,
Guru Guru,
Arab on Radar,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.