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 Bangladesh and from Winnipeg.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Portland.
I'm losing my edge to the art-school Toronto 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 The Modern Lovers to the jazz kids.
I played it at the Astoria.
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 Fluxion. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Peter & Gordon record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
A Flock of Seagulls,
Peter Gordon & Love of Life Orchestra,
The Gun Club,
Model 500,
Angry Samoans,
Sound Behaviour,
Harmonia,
The Motions,
Jimmy McGriff,
Y Pants,
Carl Craig,
Alison Limerick,
Justin Hinds & The Dominoes,
Idris Muhammad,
Sad Lovers and Giants,
The Velvet Underground,
June of 44,
Gian Franco Pienzio,
Aural Exciters,
Au Pairs,
Lonnie Liston Smith,
Cabaret Voltaire,
Sly & The Family Stone,
Pere Ubu,
La Düsseldorf,
Amazonics,
The Five Americans,
Anakelly,
Blancmange,
Crispian St. Peters,
ABBA,
Ituana,
The Grass Roots,
Livin' Joy,
Max Romeo,
The Martian,
Sparks,
Wire,
Fluxion,
Organ,
MC5,
EPMD,
DJ Sneak,
Roxy Music,
Nik Kershaw,
DJ Style,
Leonard Cohen,
The Pretty Things,
Spandau Ballet,
Al Stewart,
Robert Görl,
Andrew Hill,
Symarip,
The Red Krayola,
Ajijia Myrayebe,
Kerri Chandler,
Charles Mingus,
The Wake,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.