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 Belize and from Copenhagen.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Manila and Paris.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare 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 Lungfish to the jazz kids.
I played it at Cafe Wha.
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 London Community Gospel Choir. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Tom Boy 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Girls At Our Best! record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Grandmaster Flash and the Furious Five,
La Düsseldorf,
Jacob Miller,
Cameo,
Popol Vuh,
Don Cherry,
Pere Ubu,
The Last Poets,
The Modern Lovers,
John Lydon,
Shoche,
The New Christs,
Reagan Youth,
The American Breed,
Guru Guru,
Pharoah Sanders,
Tropical Tobacco,
Swell Maps,
Piero Umiliani,
The Durutti Column,
Sun Ra,
The Fall,
Gastr Del Sol,
Arcadia,
The Grass Roots,
Mark Hollis,
Richard Hell and the Voidoids,
Swans,
Echo & the Bunnymen,
Easy Going,
Rhythim Is Rhythim,
the Normal,
Captain Beefheart & His Magic Band,
Fad Gadget,
Jesper Dahlback,
Lyres,
The Seeds,
Parry Music,
Kerrie Biddell,
Royal Trux,
The Trojans,
Yazoo,
Wire,
John Coltrane,
Bizarre Inc.,
The Royal Family And The Poor,
Gian Franco Pienzio,
Stiv Bators,
Hoover,
Ultramagnetic MC's,
Sound Behaviour,
Soul Sonic Force,
Nils Olav,
Ituana,
Scrapy,
Frankie Knuckles,
F. McDonald,
The Slackers,
Marcia Griffiths,
Chris & Cosey,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.