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 Mali and from Accra.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Seoul.
I'm losing my edge to the art-school London 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 1976 at the first Chic practice in a loft in New York.
I was working on the güiro 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 The Jesus and Mary Chain to the rock 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 Matthew Bourne. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Unrelated Segments 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 chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
48th St. Collective,
Surgeon,
the Swans,
Grandmaster Flash,
Rhythim Is Rhythim,
Robert Görl,
DNA,
Hashim,
Brand Nubian,
The Toasters,
Boogie Down Productions,
the Fania All-Stars,
The Pop Group,
Aswad,
Audionom,
The Modern Lovers,
Avey Tare,
Gerry Rafferty,
The Last Poets,
Hot Snakes,
The Angels of Light,
Kayak,
Heaven 17,
Swell Maps,
The Happenings,
OOIOO,
Lee Hazlewood,
Colin Newman,
Aloha Tigers,
Yazoo,
Pharaoh Sanders and the Fire Engines,
Skarface,
Ten City,
Masters at Work,
Electric Light Orchestra,
Major Organ And The Adding Machine,
Royal Trux,
The Motions,
The New Christs,
Gregory Isaacs,
June Days,
John Lydon,
Black Moon,
the Human League,
Eyeless In Gaza,
Half Japanese,
Eric Copeland,
Television,
Bauhaus,
Dark Day,
Donald Byrd,
Essential Logic,
Gil Scott Heron,
Q and Not U,
Dave Gahan,
Delon & Dalcan,
Talk Talk,
Art Ensemble Of Chicago,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.