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 Spain and from Stockholm.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Winnipeg 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Angry Samoans 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 Index. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Loose Ends record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Trumans Water,
Crime,
Roger Hodgson,
Rhythm & Sound,
The Litter,
Rowland S Howard / Lydia Lunch,
the Slits,
Grandmaster Flash,
Be Bop Deluxe,
The Selecter,
Nik Kershaw,
The Gun Club,
Beasts of Bourbon,
Mad Mike,
Bobby Sherman,
Albert Ayler,
Buzzcocks,
Cameo,
Deutsch Amerikanische Freundschaft,
Aural Exciters,
the Germs,
Sun Ra,
Oppenheimer Analysis,
Groovy Waters,
Kaleidoscope,
Laurel Aitken,
Glambeats Corp.,
The Real Kids,
The Martian,
Ituana,
Radio Birdman,
Tears for Fears,
The Stooges,
Justin Hinds & The Dominoes,
Magazine,
The Pop Group,
Qualms,
Joy Division,
Mo-Dettes,
Reuben Wilson,
Robert Görl,
Warren Ellis,
Skarface,
Richard Hell and the Voidoids,
Hardrive,
Country Teasers,
Stiv Bators,
Gichy Dan,
the Normal,
LL Cool J,
Radiopuhelimet,
Country Joe & The Fish,
Mars,
Connie Case,
Nico,
Essential Logic,
Smog,
The Raincoats,
Agitation Free,
Strawberry Alarm Clock,
It's A Beautiful Day,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.