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 Kosovo and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Johannesburg 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 Kango’s Stein Massive to the grunge kids.
I played it at CBGB's.
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 Cymande. All the underground hits.
All Silicon Teens tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Cybotron record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Mary Jane Girls,
Eli Mardock,
Gerry Rafferty,
Shuggie Otis,
Rowland S Howard / Lydia Lunch,
Oblivians,
Barrington Levy,
Mandrill,
The Sisters of Mercy,
Kenny Larkin,
cv313,
Icehouse,
Peter Gordon & Love of Life Orchestra,
The Monochrome Set,
David Axelrod,
Jawbox,
Slick Rick,
Simply Red,
Avey Tare,
Second Layer,
Excepter,
Zero Boys,
Model 500,
The Knickerbockers,
Marvin Gaye,
Eric B and Rakim,
Sound Behaviour,
The Real Kids,
The Doors,
The Fugs,
Curtis Mayfield,
The Searchers,
Jerry Gold Smith,
Cymande,
Can,
In Retrospect,
David Bowie,
PIL,
Glenn Branca,
Television Personalities,
Lebanon Hanover,
U.S. Maple,
The Gories,
The Music Machine,
John Coltrane,
Schoolly D,
Judy Mowatt,
It's A Beautiful Day,
The Chocolate Watch Band,
Lalo Schifrin,
Matthew Halsall,
Scion,
Japan,
Tommy Roe,
Sam Rivers,
Porter Ricks,
Bluetip,
Amon Düül II,
Bobby Womack,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.