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 Jamaica and from Lyon.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Mumbai 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie 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 Cheater Slicks 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 Minnie Riperton. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Rapeman,
Glambeats Corp.,
Lou Reed,
Super Lover Cee & Casanova Rud,
Fluxion,
John Coltrane,
The Jesus and Mary Chain,
Heavy D & The Boyz,
Juan Atkins,
Graham Central Station,
Brand Nubian,
Parry Music,
Rosa Yemen,
Wally Richardson,
Audionom,
DNA,
Qualms,
The Birthday Party,
the Soft Cell,
Selector Dub Narcotic,
Mark Hollis,
Arab on Radar,
Bizarre Inc.,
Mr. Review,
48th St. Collective,
Inner City,
Oppenheimer Analysis,
Skriet,
Jerry Gold Smith,
Stereo Dub,
Drive Like Jehu,
Isaac Hayes,
Soul Sonic Force,
Aural Exciters,
Harmonia,
Michelle Simonal,
La Düsseldorf,
Ultra Naté,
Ossler,
the Human League,
Deadbeat,
T.S.O.L.,
Terror Squad Feat. Camron,
Cameo,
Rhythm & Sound,
Cal Tjader,
Oneida,
Alton Ellis,
Moss Icon,
Reagan Youth,
Glenn Branca,
Lou Reed & Metallica,
Derrick May,
Patti Smith,
Surgeon,
Grandmaster Flash,
Bobby Womack,
Negative Approach,
Tom Boy,
Sight & Sound,
The Sound, The Sound, The Sound, The Sound.
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.