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 Iraq and from Philadelphia.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Seoul 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 808 sounds with much patience.
I was there when Holger Czukay 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 Sound Behaviour to the punk 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 Index. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
Pussy Galore,
Sun Ra,
Yusef Lateef,
John Foxx,
the Bar-Kays,
Ten City,
The Flesh Eaters,
Cheater Slicks,
Pagans,
Magazine,
Faraquet,
Brick,
Public Image Ltd.,
Terry Callier,
The Durutti Column,
the Normal,
Siouxsie and the Banshees,
Khruangbin,
Stiv Bators,
Ajijia Myrayebe,
The Cosmic Jokers,
A Flock of Seagulls,
Nirvana,
Max Romeo,
Rapeman,
the Association,
Pylon,
Quando Quango,
UT,
Gong,
Dark Day,
Kerrie Biddell,
The Fuzztones,
Nik Kershaw,
Roy Ayers Ubiquity,
Graham Central Station,
Rotary Connection,
The Dirtbombs,
Lou Reed & John Cale,
Bizarre Inc.,
Suburban Knight,
EPMD,
Freddie Wadling,
Todd Terry,
the Germs,
Warsaw,
Model 500,
Radiopuhelimet,
Joy Division,
Interpol,
Alton Ellis,
Mandrill,
Notorious Big And Bone Thugs,
Subhumans,
Parry Music,
Marshall Jefferson,
Funky Four + One,
Letta Mbulu,
Monolake,
Audionom,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.