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 Italy and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Jakarta.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 Matthew Halsall to the grime kids.
I played it at the Spitz.
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 Gap Band. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every The Residents 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
The Cowsills,
The Motions,
The Royal Family And The Poor,
Arthur Verocai,
Junior Murvin,
Strawberry Alarm Clock,
Subhumans,
Notorious BIG live in Amsterdam,
Glambeats Corp.,
Pulsallama,
a-ha,
Pantaleimon,
Stiv Bators,
Inner City,
Sam Rivers,
The Kinks,
Deakin,
London Community Gospel Choir,
Andrew Ashong & Theo Parrish,
Ohio Players,
Drive Like Jehu,
Gregory Isaacs,
Deadbeat,
Echo & the Bunnymen,
Mantronix,
Lower 48,
Khruangbin,
Oneida,
Erasure,
Fugazi,
Bobby Sherman,
T. Rex,
The Slits,
Dr. Dre and Snoop Doggy Dog,
The Pop Group,
Television,
Rites of Spring,
Schoolly D,
The Count Five,
Half Japanese,
Gong,
Jesper Dahlbäck,
Joyce Sims,
The Walker Brothers,
The Tremeloes,
Josef K,
John Cale,
Panda Bear,
Throbbing Gristle,
Lalann,
Theoretical Girls,
Altered Images,
The New Christs,
Grey Daturas,
Connie Case,
The Cure,
Bang On A Can,
the Fania All-Stars,
Rhythim Is Rhythim,
Maurizio,
Motorama,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.