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 El Salvador and from Tokyo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Manchester.
I'm losing my edge to the art-school Cairo 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Thee Headcoats to the rock kids.
I played it at the Hacienda.
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 Be Bop Deluxe. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
Monks,
Avey Tare & Kría Brekkan,
48th St. Collective,
Dual Sessions,
Cabaret Voltaire,
Quadrant,
Eurythmics,
Todd Terry,
Graham Central Station,
The Residents,
The Cramps,
Sonny Sharrock,
Gong,
The Standells,
Frankie Knuckles,
The Techniques,
Marc Almond,
Jesper Dahlback,
The Modern Lovers,
Scott Walker,
London Community Gospel Choir,
Ponytail,
It's A Beautiful Day,
Cheater Slicks,
Arab on Radar,
Blancmange,
The Move,
The Jesus and Mary Chain,
Suicide,
Gerry Rafferty,
UT,
the Bar-Kays,
Livin' Joy,
Echospace,
The Wake,
The Sisters of Mercy,
Soulsonic Force,
Don Cherry,
Heaven 17,
Art Ensemble Of Chicago,
Shuggie Otis,
The Skatalites,
The Golliwogs,
The Velvet Underground,
The Fortunes,
Ten City,
The Flesh Eaters,
Gil Scott Heron,
Joyce Sims,
Urselle,
The Motions,
Harry Pussy,
Joey Negro,
Vladislav Delay,
Clear Light,
Alison Limerick,
The Toasters,
Kool G Rap & DJ Polo,
Rufus Thomas,
Sound Behaviour,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.