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 Botswana and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 The Offenders to the funk kids.
I played it at the Crocodile.
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 Smoke. All the underground hits.
All UT tracks. I heard you have a vinyl of every Pantytec record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
The Motions,
Black Sheep,
Mark Hollis,
Con Funk Shun,
The Toasters,
Altered Images,
The Tremeloes,
The Residents,
Juan Atkins,
Banda Bassotti,
The Remains,
Adolescents,
the Human League,
X-Ray Spex,
The Human League,
Marmalade,
Ludus,
Blossom Toes,
Lafayette Afro Rock Band,
Neil Young,
Flipper,
Joe Finger,
Sarah Menescal,
The Fuzztones,
Dark Day,
The Monochrome Set,
Richard Hell and the Voidoids,
Au Pairs,
New Age Steppers,
The Litter,
Inner City,
Mo-Dettes,
cv313,
Franke,
Cabaret Voltaire,
U.S. Maple,
James White and The Blacks,
Graham Central Station,
Magma,
Morten Harket,
Bobby Byrd,
Lee Hazlewood,
Angry Samoans,
Desert Stars,
Bill Near,
Throbbing Gristle,
Kurtis Blow,
Avey Tare,
The Stooges,
Porter Ricks,
K-Klass,
The Victims,
8 Eyed Spy,
Niagra,
Fear,
Outsiders,
Kango’s Stein Massive,
Lightning Bolt,
Glambeats Corp.,
E-Dancer,
Todd Terry,
JFA,
Clear Light, Clear Light, Clear Light, Clear Light.
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.