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 Libya and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school Salvador 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 rhodes sounds with much patience.
I was there when David Bowie 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 Scion to the electroclash 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 The Motions. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every the Slits 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Sight & Sound,
The Toasters,
Von Mondo,
Avey Tare's Slasher Flicks,
Louis and Bebe Barron,
Steve Hackett,
The Names,
Model 500,
Ornette Coleman,
T. Rex,
Lee Hazlewood,
Ultravox,
UT,
Marcia Griffiths,
Eric B and Rakim,
Kas Product,
Kango’s Stein Massive,
Niagra,
Donny Hathaway,
Adolescents,
Davy DMX,
Terror Squad Feat. Camron,
Saccharine Trust,
Justin Hinds & The Dominoes,
Gichy Dan,
The Shadows of Knight,
Lalann,
Minnie Riperton,
Avey Tare,
Dorothy Ashby,
The Dirtbombs,
The Durutti Column,
FM Einheit,
Public Image Ltd.,
Röyhkä ja Rättö ja Lehtisalo,
Soulsonic Force,
Pantytec,
Kerri Chandler,
James Chance & The Contortions,
Eric Copeland,
Negative Approach,
Television,
Make Up,
Faust,
Lalo Schifrin,
The Pop Group,
Faraquet,
Warren Ellis,
Charles Mingus,
Dead Boys,
Siglo XX,
The Men They Couldn't Hang,
Scion,
Schoolly D,
Loose Ends,
Angels of Light & Akron/Family,
Nick Cave & The Bad Seeds,
Lungfish,
Skaos,
Sugar Minott,
Section 25,
Index,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.