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 Bosnia Herzegovina and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1970.
I'm losing my edge.
To all the kids in Jakarta and Bremen.
I'm losing my edge to the art-school Tokyo 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 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 Standells to the funk kids.
I played it at the Crocodile.
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 The Zeros. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Arcadia,
Q65,
Scratch Acid,
The Associates,
Animal Collective,
Lou Reed & John Cale,
LL Cool J,
World's Most,
Jeff Mills,
Sparks,
Jacob Miller,
This Heat,
Quantec,
Country Joe & The Fish,
The Men They Couldn't Hang,
Section 25,
Yaz,
Pierre Henry,
The Slits,
Sight & Sound,
Glambeats Corp.,
Grey Daturas,
Susan Cadogan,
Barbara Tucker,
Hot Snakes,
Derrick Morgan,
Roxy Music,
Minny Pops,
The Offenders,
Gerry Rafferty,
UT,
Monolake,
The Flesh Eaters,
Hashim,
Larry & the Blue Notes,
Siglo XX,
The Monochrome Set,
Brand Nubian,
Swell Maps,
Beasts of Bourbon,
Althea and Donna,
Sarah Menescal,
Carl Craig,
Graham Central Station,
Bootsy Collins,
Quadrant,
China Crisis,
kango's stein massive,
Piero Umiliani,
The Royal Family And The Poor,
The Names,
Accadde A,
The Grass Roots,
Newcleus,
Todd Rundgren,
Barry Ungar,
Franke,
Metal Thangz,
Gil Scott-Heron & Brian Jackson,
Minutemen,
Ludus,
X-Ray Spex,
L. Decosne,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.