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 Sudan and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Manila.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Dead Boys to the techno 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 Roger Hodgson. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Byron Stingily,
Gil Scott-Heron and Jamie xx,
The Zeros,
Fear,
Adolescents,
The Dead C,
Babytalk,
Electric Prunes,
Joey Negro,
The Pop Group,
Don Cherry,
Bizarre Inc.,
Nik Kershaw,
Deadbeat,
Roy Ayers,
Gerry Rafferty,
the Germs,
The Peanut Butter Conspiracy,
Idris Muhammad,
The Men They Couldn't Hang,
Fugazi,
Fela Kuti,
Max Romeo,
Howard Jones,
Unwound,
The Cowsills,
Ronan,
Strawberry Alarm Clock,
Sound Behaviour,
Davy DMX,
Sixth Finger,
Buzzcocks,
Monks,
Avey Tare's Slasher Flicks,
Godley & Creme,
Porter Ricks,
The Selecter,
Lizzy Mercier Descloux,
The Offenders,
Barry Ungar,
Peter & Gordon,
Moby Grape,
Second Layer,
Bauhaus,
Quadrant,
Al Stewart,
Pharaoh Sanders and the Fire Engines,
The Human League,
John Foxx,
Crime,
Aswad,
The Star Department,
Mo-Dettes,
D'Angelo,
One Last Wish,
Arcadia,
The Stooges,
Public Image Ltd.,
Heaven 17,
Eurythmics,
Maurizio,
Cameo, Cameo, Cameo, Cameo.
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.