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 Guinea-Bissau and from London.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Traffic Nightmare 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 The Slackers. All the underground hits.
All Television tracks. I heard you have a vinyl of every Brothers Johnson 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Charles Mingus,
ABBA,
The Evens,
Nas,
Pantytec,
The Leaves,
Monks,
DJ Sneak,
Angels of Light & Akron/Family,
The Real Kids,
Thee Headcoats,
Big Daddy Kane,
Röyhkä ja Rättö ja Lehtisalo,
Sight & Sound,
The Gap Band,
Pierre Henry,
Ornette Coleman,
Buzzcocks,
Hoover,
David Axelrod,
Suicide,
Rekid,
Crooked Eye,
Simply Red,
Smog,
The Searchers,
Matthew Halsall,
Glenn Branca,
Electric Light Orchestra,
The Blackbyrds,
The Black Dice,
the Slits,
The Modern Lovers,
the Bar-Kays,
Joyce Sims,
John Lydon,
Massinfluence,
Barrington Levy,
The Five Americans,
Intrusion,
Patti Smith,
Chris Corsano,
Alphaville,
The Neon Judgement,
Laurel Aitken,
The Skatalites,
Tommy Roe,
Dennis Brown,
The Monochrome Set,
Theoretical Girls,
The Sisters of Mercy,
Bootsy Collins,
The Durutti Column,
cv313,
Graham Central Station,
The Fortunes,
Delta 5,
Masters at Work,
Piero Umiliani,
Negative Approach,
Man Eating Sloth,
Mission of Burma, Mission of Burma, Mission of Burma, Mission of Burma.
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.