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 Australia and from Tehran.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Madrid and Halifax.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 X-102 to the rap 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 OOIOO. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Intrusion 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 synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Depeche Mode,
Jeru the Damaja,
Stereo Dub,
Circle Jerks,
Royal Trux,
the Germs,
The Blues Magoos,
Sparks,
Cymande,
Terry Callier,
Camron Feat. Memphis Bleek And Beenie Seigel,
Laurel Aitken,
Black Flag,
The West Coast Pop Art Experimental Band,
Joey Negro,
Ultra Naté,
Kerrie Biddell,
Nation of Ulysses,
Grey Daturas,
Con Funk Shun,
Pulsallama,
The Pretty Things,
Hot Snakes,
the Soft Cell,
Sixth Finger,
Alphaville,
Marc Almond,
Gong,
Bluetip,
Marmalade,
The Busters,
The Evens,
Lou Reed & Metallica,
Andrew Ashong & Theo Parrish,
Camberwell Now,
Skriet,
Unrelated Segments,
Vaughan Mason & Crew,
Davy DMX,
Radio Birdman,
The Gun Club,
The Red Krayola,
Nick Fraelich,
Stockholm Monsters,
The Angels of Light,
Tropical Tobacco,
Robert Görl,
Darondo,
Terrestrial Tones,
Eddi Front,
The Royal Family And The Poor,
The American Breed,
Andrew Hill,
Cybotron,
Suicide,
The Martian,
Liliput,
Bauhaus,
The Cosmic Jokers,
The Monks, The Monks, The Monks, The Monks.
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.