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 Trinidad & Tobago and from Lyon.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Paris 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 marimba 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 Lakeside to the rap 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 Scientists. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every The Sonics record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Brass Construction,
Saccharine Trust,
K-Klass,
Matthew Bourne,
Masters at Work,
Ituana,
Howard Jones,
Reuben Wilson,
John Coltrane,
Bush Tetras,
The Gun Club,
Althea and Donna,
Jeru the Damaja,
Japan,
The Evens,
Godley & Creme,
Rod Modell,
Country Joe & The Fish,
Lalo Schifrin,
Television,
Excepter,
the Fania All-Stars,
Fat Boys,
Au Pairs,
Amon Düül II,
Quadrant,
Ten City,
Kas Product,
The Saints,
Stiv Bators,
Buzzcocks,
One Last Wish,
Infiniti,
Graham Central Station,
Cluster,
Jacques Brel,
Skaos,
The Pretty Things,
The Misunderstood,
Organ,
Bill Near,
Terrestrial Tones,
Tomorrow,
Ponytail,
Marine Girls,
Desert Stars,
Royal Trux,
The Names,
Robert Görl,
David McCallum,
Matthew Halsall,
Lee Hazlewood,
Nik Kershaw,
8 Eyed Spy,
Skriet,
Traffic Nightmare,
New York Dolls,
The Count Five,
Symarip,
Y Pants,
Absolute Body Control,
Amazonics, Amazonics, Amazonics, Amazonics.
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.