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 Nauru and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
I'm losing my edge to the art-school Cairo 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 rhodes sounds with much patience.
I was there when Robert Palmer 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 Outsiders to the techno kids.
I played it at the Hacienda.
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 Black Bananas. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every The Human League 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction 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?
Tommy Roe,
Oneida,
Kayak,
Amon Düül II,
X-101,
Pantaleimon,
Flipper,
AZ,
Lou Reed & Metallica,
Can,
Kauko Röyhkä ja Narttu,
Sun City Girls,
Minor Threat,
Sunsets and Hearts,
The Fortunes,
A Certain Ratio,
Skaos,
Jacques Brel,
Strawberry Alarm Clock,
Fluxion,
Depeche Mode,
Brick,
Big Daddy Kane,
Smog,
Selector Dub Narcotic,
Röyhkä ja Rättö ja Lehtisalo,
Camberwell Now,
Jandek,
Excepter,
Glambeats Corp.,
Roxette,
The Selecter,
Aural Exciters,
Second Layer,
Pulsallama,
The Associates,
Section 25,
Nick Fraelich,
The Music Machine,
Blancmange,
Von Mondo,
10cc,
Byron Stingily,
Masters at Work,
The Cure,
Jesper Dahlback,
David McCallum,
Maleditus Sound,
Animal Collective,
Ornette Coleman,
Althea and Donna,
Tubeway Army,
Amon Düül,
The Divine Comedy,
Kurtis Blow,
Arab on Radar,
Idris Muhammad,
Lou Christie,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.