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 Liberia and from Mexico City.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the rhodes 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 In Retrospect to the grunge kids.
I played it at the Spitz.
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 Fugazi. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every The Martian 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 '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
James Chance & The Contortions,
Slick Rick,
Cheater Slicks,
Cal Tjader,
Dawn Penn,
New Age Steppers,
The Five Americans,
The Knickerbockers,
Rufus Thomas,
Harry Pussy,
World's Most,
Althea and Donna,
Maurizio,
Harpers Bizarre,
The Real Kids,
Black Flag,
48th St. Collective,
Strawberry Alarm Clock,
The Modern Lovers,
The Pop Group,
Rhythm & Sound,
Be Bop Deluxe,
Kerrie Biddell,
Bronski Beat,
Donald Byrd,
Fugazi,
Marc Romboy vs. Booka Shade,
Q65,
The Electric Prunes,
The Seeds,
Joensuu 1685,
EPMD,
The Skatalites,
Bobby Byrd,
Visage,
Skarface,
Don Cherry,
Vladislav Delay,
Idris Muhammad,
James White and The Blacks,
Jeff Lynne,
Dead Boys,
Echo & the Bunnymen,
Dorothy Ashby,
Marvin Gaye,
Gil Scott-Heron & Brian Jackson,
Thee Headcoats,
Kas Product,
Saccharine Trust,
The Techniques,
The Barracudas,
Thinking Fellers Union Local 282,
Essential Logic,
Bobby Sherman,
The Standells,
OOIOO,
Ossler,
Kool G Rap & DJ Polo,
Mo-Dettes,
Tomorrow,
Gang Starr,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.