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 Mauritius and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1975.
I'm losing my edge.
To all the kids in Calgary and Lyon.
I'm losing my edge to the art-school Copenhagen 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 oboe 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 Big Daddy Kane to the jazz kids.
I played it at the Troubador.
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 Eric B and Rakim. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal techno 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
The Busters,
EPMD,
The J.B.'s,
Bill Near,
Richard Hell and the Voidoids,
Strawberry Alarm Clock,
Black Pus,
Ludus,
Depeche Mode,
Eve St. Jones,
World's Most,
Roxette,
Pere Ubu,
Jesper Dahlback,
Grandmaster Flash,
The Flesh Eaters,
Kas Product,
Suburban Knight,
Kenny Larkin,
June of 44,
The Evens,
Little Man,
Soulsonic Force,
Eric Dolphy,
Laurel Aitken,
Half Japanese,
The Smiths,
Technova,
Black Flag,
Sugar Minott,
Symarip,
The Motions,
Donald Byrd,
Kaleidoscope,
Gil Scott-Heron and Jamie xx,
Erasure,
Joyce Sims,
The Sound,
Make Up,
Desert Stars,
The Cowsills,
Scratch Acid,
Black Sheep,
8 Eyed Spy,
Bizarre Inc.,
Scott Walker,
Tomorrow,
Bauhaus,
Arcadia,
The Raincoats,
The United States of America,
The Searchers,
The Fall,
L. Decosne,
Erykah Badu,
Radiopuhelimet,
The Blackbyrds,
Joe Finger,
Cabaret Voltaire,
The Stooges,
Goldenarms,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.