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 New Zealand and from Woodstock.
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 1974.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
I'm losing my edge to the art-school Manchester 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Roy Ayers Ubiquity to the grime 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 Zapp. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a marimba 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 oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Schoolly D,
Alton Ellis,
Gian Franco Pienzio,
The Dirtbombs,
Johnny Osbourne,
Byron Stingily,
The Flesh Eaters,
Beasts of Bourbon,
The Last Poets,
Bob Dylan,
Con Funk Shun,
Dorothy Ashby,
N.O.R.E. Featuring Pharrell,
Traffic Nightmare,
T.S.O.L.,
James White and The Blacks,
Iggy Pop,
The Gap Band,
Minor Threat,
Cluster,
Alison Limerick,
Radiopuhelimet,
Mo-Dettes,
The Smiths,
K-Klass,
The Neon Judgement,
Tomorrow,
Quando Quango,
The Remains,
It's A Beautiful Day,
The American Breed,
Barrington Levy,
Bobbi Humphrey,
Jerry Gold Smith,
Whodini,
Jesper Dahlback,
Todd Terry,
Jerry's Kids,
The Shadows of Knight,
Depeche Mode,
James Chance & The Contortions,
Eurythmics,
Jeff Lynne,
Anthony Braxton,
Gabor Szabo,
The Cramps,
The Saints,
Alphaville,
Marcia Griffiths,
Lalann,
Groovy Waters,
Ornette Coleman,
Skaos,
JFA,
Larry & the Blue Notes,
B.T. Express,
Funky Four + One,
Sun Ra Arkestra,
Suburban Knight,
Ohio Players,
Bootsy Collins,
Althea and Donna,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.