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 China and from Paris.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1979.
I'm losing my edge.
To all the kids in London and Lyon.
I'm losing my edge to the art-school Spokane 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 guitar sounds with much patience.
I was there when David Bowie 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 This Heat to the rap 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 Masters at Work. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every T. Rex 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delta 5,
Tom Boy,
Black Moon,
Gong,
Shoche,
Ponytail,
Section 25,
Rites of Spring,
Orchestral Manoeuvres in the Dark,
Shuggie Otis,
Stockholm Monsters,
Maleditus Sound,
DeepChord presents Echospace,
Procol Harum,
R.M.O.,
Outsiders,
Michelle Simonal,
The Fall,
Newcleus,
MC5,
Lou Reed & Metallica,
Rotary Connection,
Thee Headcoats,
The Durutti Column,
Peter & Gordon,
Buzzcocks,
The Techniques,
Ultra Naté,
Faraquet,
Rowland S Howard / Lydia Lunch,
Fluxion,
Marine Girls,
Janne Schatter,
Fatback Band,
James Chance & The Contortions,
Oppenheimer Analysis,
Amazonics,
L. Decosne,
Quadrant,
Röyhkä ja Rättö ja Lehtisalo,
Marvin Gaye,
Los Fastidios,
Absolute Body Control,
Basic Channel,
The Alarm Clocks,
A Certain Ratio,
Moss Icon,
Agitation Free,
Eric Dolphy,
Young Marble Giants,
The Skatalites,
Zapp,
Prince Buster,
the Normal,
Arab on Radar,
Deutsch Amerikanische Freundschaft,
Drive Like Jehu,
Flipper,
Gregory Isaacs,
Youth Brigade,
Jawbox,
Derrick May, Derrick May, Derrick May, Derrick May.
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.