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 Djibouti 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 1966 to 1970.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator 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 KRS-One to the dance 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 Patti Smith. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Black Sheep 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Infiniti,
the Slits,
These Immortal Souls,
The New Christs,
Mo-Dettes,
Man Eating Sloth,
Sandy B,
The Fortunes,
Crispian St. Peters,
The Barracudas,
Shuggie Otis,
Easy Going,
X-102,
The Peanut Butter Conspiracy,
Sight & Sound,
LL Cool J,
Eve St. Jones,
Faraquet,
Jesper Dahlbäck,
Mark Hollis,
Barrington Levy,
Delon & Dalcan,
Flipper,
The Knickerbockers,
The Grass Roots,
Joe Finger,
Ronan,
The Doobie Brothers,
Eyeless In Gaza,
The Associates,
Saccharine Trust,
Blancmange,
Joe Smooth,
Gil Scott-Heron & Brian Jackson,
Yellowson,
Marc Romboy vs. Booka Shade,
The Durutti Column,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
A Certain Ratio,
Gong,
Aloha Tigers,
Kool G Rap & DJ Polo,
Harry Pussy,
Derrick Morgan,
Lou Reed & Metallica,
The J.B.'s,
The Monks,
Rapeman,
Cabaret Voltaire,
Sparks,
The Pretty Things,
Sällskapet,
Metal Thangz,
Rotary Connection,
The Shadows of Knight,
Rahsaan Roland Kirk,
Moss Icon,
Scientists,
The Names,
Frankie Knuckles,
Warren Ellis,
The Electric Prunes,
The Birthday Party,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.