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 Latvia and from Copenhagen.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Beijing and Bologna.
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 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 Donald Fagen 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 Johnny Clarke to the dance kids.
I played it at Cafe Wha.
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 Standells. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Quantec record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Dual Sessions,
Mars,
Al Stewart,
Massinfluence,
Model 500,
Bootsy Collins,
The Velvet Underground,
Public Image Ltd.,
Lebanon Hanover,
The Grass Roots,
the Normal,
Nation of Ulysses,
Ossler,
Camberwell Now,
Ohio Players,
Jandek,
Alton Ellis,
Supertramp,
Kerri Chandler,
Peter and Kerry,
Organ,
Lizzy Mercier Descloux,
Gong,
Roy Ayers,
PIL,
Make Up,
Radio Birdman,
Cabaret Voltaire,
Nas,
Bill Near,
Sex Pistols,
Todd Terry,
Crispian St. Peters,
Dead Boys,
Bauhaus,
Fatback Band,
The J.B.'s,
Kauko Röyhkä ja Narttu,
The Seeds,
Sad Lovers and Giants,
Rapeman,
Zapp,
DeepChord presents Echospace,
Maurizio,
Main Source,
Kerrie Biddell,
Grey Daturas,
Joe Smooth,
Porter Ricks,
Blossom Toes,
Rufus Thomas,
Lou Reed & John Cale,
Spoonie Gee,
Banda Bassotti,
The Gun Club,
The Men They Couldn't Hang,
Amon Düül II,
Curtis Mayfield,
Heavy D & The Boyz,
The Human League,
The Cosmic Jokers,
The Techniques,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.