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 Uganda and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Bologna and Philadelphia.
I'm losing my edge to the art-school Manchester 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Minnie Riperton to the grime kids.
I played it at the Roxy.
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 Pharoah Sanders. All the underground hits.
All Bronski Beat tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Howard Jones,
Dead Boys,
Eric B and Rakim,
Radiopuhelimet,
Man Parrish,
The Zeros,
The Gladiators,
Severed Heads,
Bill Wells,
Model 500,
Unrelated Segments,
A Flock of Seagulls,
Barclay James Harvest,
The Residents,
Major Organ And The Adding Machine,
Gang Starr,
The United States of America,
Roxy Music,
The Black Dice,
Lou Christie,
Icehouse,
Barrington Levy,
Bizarre Inc.,
Television Personalities,
Liaisons Dangereuses,
Rotary Connection,
UT,
Sad Lovers and Giants,
Art Ensemble Of Chicago,
Morten Harket,
The Walker Brothers,
Depeche Mode,
Byron Stingily,
Bob Dylan,
Au Pairs,
Heavy D & The Boyz,
Black Pus,
Archie Shepp,
Outsiders,
Althea and Donna,
The Trojans,
Gastr Del Sol,
Hoover,
Bootsy's Rubber Band,
Rites of Spring,
David Axelrod,
Erasure,
Liliput,
Von Mondo,
Kerrie Biddell,
Tres Demented,
FM Einheit,
Johnny Osbourne,
Jimmy McGriff,
Mark Hollis,
Boogie Down Productions,
Mars,
Cecil Taylor,
Slick Rick,
Johnny Clarke,
D'Angelo,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.