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 Syria and from Delhi.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Cairo and Spokane.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when Holger Czukay 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 Warsaw to the punk kids.
I played it at the Roxy.
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 Seeds. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Kurtis Blow 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Ultra Naté,
Alice Coltrane,
X-Ray Spex,
Unrelated Segments,
Bauhaus,
Angry Samoans,
Barclay James Harvest,
Lyres,
Man Parrish,
The Toasters,
Byron Stingily,
Das Ding,
John Lydon,
The Cure,
The Misunderstood,
The Five Americans,
Avey Tare & Kría Brekkan,
John Cale,
The Leaves,
Barrington Levy,
AZ,
Neil Young & Crazy Horse,
Grey Daturas,
Girls At Our Best!,
The Knickerbockers,
The Neon Judgement,
Johnny Clarke,
Funkadelic,
FM Einheit,
Flipper,
Gabor Szabo,
The Divine Comedy,
Roger Hodgson,
Sam Rivers,
Oppenheimer Analysis,
Derrick Morgan,
Spandau Ballet,
La Düsseldorf,
The Fall,
Arthur Verocai,
Junior Murvin,
Soul Sonic Force,
Sun City Girls,
Larry & the Blue Notes,
The Dirtbombs,
Masters at Work,
Second Layer,
Jerry's Kids,
Massinfluence,
The Royal Family And The Poor,
Chrome,
Zapp,
The Wake,
Yazoo,
Scrapy,
These Immortal Souls,
The Flesh Eaters,
Lou Christie,
Peter & Gordon,
Lou Reed,
Procol Harum,
T.S.O.L.,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.