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 Sweden and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 Blancmange to the dance kids.
I played it at the Crocodile.
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 Alarm Clocks. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Tommy Roe,
Aaron Thompson,
Avey Tare,
Richard Hell and the Voidoids,
The Zeros,
Pete Rock & C.L. Smooth,
The Grass Roots,
PIL,
Wasted Youth,
Schoolly D,
The Associates,
Davy DMX,
Siouxsie and the Banshees,
Boogie Down Productions,
Scott Walker,
David McCallum,
Unrelated Segments,
Faust,
Oneida,
Gang Gang Dance,
Lou Reed & Metallica,
Charles Mingus,
Derrick Morgan,
The Sound,
Chrome,
Radio Birdman,
Surgeon,
Deepchord,
Donny Hathaway,
Josef K,
The Standells,
Banda Bassotti,
Eurythmics,
Eli Mardock,
Glenn Branca,
Reagan Youth,
Graham Central Station,
Gang Green,
Clear Light,
Silicon Teens,
Bizarre Inc.,
The Seeds,
Mandrill,
the Sonics,
Robert Wyatt,
Stiv Bators,
Tom Boy,
Blancmange,
Minor Threat,
B.T. Express,
Bronski Beat,
Flipper,
Duran Duran,
The Dead C,
Television,
Nation of Ulysses,
The Remains,
Liliput,
JFA,
KRS-One,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.