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 Bosnia Herzegovina and from Jakarta.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1976.
I'm losing my edge.
To all the kids in Halifax and Seoul.
I'm losing my edge to the art-school Calgary 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 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 Deepchord to the electroclash kids.
I played it at the Hacienda.
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 Au Pairs. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal crunk 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Vainqueur,
New York Dolls,
Radiohead,
Be Bop Deluxe,
48th St. Collective,
Dawn Penn,
Maurizio,
Peter Gordon & Love of Life Orchestra,
the Bar-Kays,
UT,
Young Marble Giants,
Ohio Players,
the Normal,
Kool G Rap & DJ Polo,
Rowland S Howard / Lydia Lunch,
Lalann,
Jesper Dahlbäck,
Fela Kuti,
Electric Prunes,
Harry Pussy,
Thompson Twins,
Yellowson,
Joe Finger,
Nation of Ulysses,
Mantronix,
Cal Tjader,
Lizzy Mercier Descloux,
The Mighty Diamonds,
Hot Snakes,
Jeru the Damaja,
Tears for Fears,
Dead Boys,
T.S.O.L.,
Kauko Röyhkä ja Narttu,
Howard Jones,
The Index,
Spoonie Gee,
Man Parrish,
DNA,
Wire,
Lindisfarne,
The Vogues,
Idris Muhammad,
Kas Product,
Buzzcocks,
Icehouse,
Thinking Fellers Union Local 282,
Fat Boys,
Bootsy Collins,
Eden Ahbez,
Black Flag,
Mad Mike,
Joey Negro,
Goldenarms,
Matthew Bourne,
The Count Five,
F. McDonald,
Stiv Bators,
Lonnie Liston Smith,
The Dave Clark Five,
Eddi Front,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.