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 Mauritius and from Bremen.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1975.
I'm losing my edge.
To all the kids in Salvador and Tokyo.
I'm losing my edge to the art-school Tokyo 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Nico to the crunk kids.
I played it at the 40 Watt.
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 Rhythim Is Rhythim. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Wighnomy Brothers & Robag Wruhme record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Agent Orange,
Sugar Minott,
Bobby Womack,
Ice-T,
Dave Gahan,
Bush Tetras,
Pharaoh Sanders and the Fire Engines,
Subhumans,
Laurel Aitken,
Man Eating Sloth,
Warsaw,
Dual Sessions,
Gang Green,
Banda Bassotti,
Bill Wells,
Schoolly D,
Skaos,
Half Japanese,
Mr. Review,
Bizarre Inc.,
Grauzone,
X-Ray Spex,
These Immortal Souls,
Angry Samoans,
Eli Mardock,
48th St. Collective,
Fela Kuti,
Qualms,
Tom Boy,
Underground Resistance,
Skriet,
Eurythmics,
Lee Hazlewood,
Super Lover Cee & Casanova Rud,
Brass Construction,
F. McDonald,
Funky Four + One,
Pete Rock & C.L. Smooth,
The Sisters of Mercy,
Gabor Szabo,
Hot Snakes,
Cameo,
Thee Headcoats,
Fat Boys,
Lou Reed,
Kas Product,
The Young Rascals,
The American Breed,
Nas,
Bobbi Humphrey,
Robert Görl,
FM Einheit,
Moby Grape,
Lindisfarne,
Model 500,
Cheater Slicks,
Althea and Donna,
Rosa Yemen,
Jacques Brel,
Sunsets and Hearts,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.