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 Bolivia and from Houston.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Houston.
I'm losing my edge to the art-school Shanghai 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 at the first Suicide practice in a loft in New York.
I was working on the spring reverb 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 UT to the electroclash kids.
I played it at the Roxy.
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 Funkadelic. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
Minnie Riperton,
Hot Snakes,
Black Sheep,
Jesper Dahlbäck,
Agent Orange,
The Trojans,
the Germs,
Royal Trux,
Letta Mbulu,
The Evens,
Reagan Youth,
Bobby Byrd,
Nation of Ulysses,
Manfred Mann's Earth Band,
Ash Ra Tempel,
Bobby Hutcherson,
Severed Heads,
Terrestrial Tones,
Johnny Osbourne,
ABBA,
Echo & the Bunnymen,
Arab on Radar,
Kaleidoscope,
the Slits,
Barry Ungar,
Lizzy Mercier Descloux,
Fifty Foot Hose,
The Seeds,
James White and The Blacks,
Gichy Dan,
Aural Exciters,
Rowland S Howard / Lydia Lunch,
Kevin Saunderson,
Stetsasonic,
Avey Tare,
Alphaville,
Ken Boothe,
Sex Pistols,
Supertramp,
Radio Birdman,
Mars,
Stockholm Monsters,
Lyres,
Howard Jones,
The Electric Prunes,
Babytalk,
Heavy D & The Boyz,
Alton Ellis,
Sarah Menescal,
Rhythim Is Rhythim,
One Last Wish,
The Sonics,
Minny Pops,
DNA,
David McCallum,
David Axelrod,
Smog,
The Zeros,
Khruangbin,
Curtis Mayfield,
Pole, Pole, Pole, Pole.
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.