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 Zambia and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Jakarta and Delhi.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin 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 Television Personalities to the rap kids.
I played it at the 40 Watt.
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 Avey Tare. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Duran Duran,
The Jesus and Mary Chain,
Fluxion,
Agent Orange,
Lebanon Hanover,
Alton Ellis,
Adolescents,
Michelle Simonal,
Gregory Isaacs,
Kevin Saunderson,
F. McDonald,
The Music Machine,
Simply Red,
Fort Wilson Riot,
Reagan Youth,
Pet Shop Boys,
Hot Snakes,
Richard Hell and the Voidoids,
Morten Harket,
Colin Newman,
Theoretical Girls,
The Techniques,
Leonard Cohen,
Crispian St. Peters,
The American Breed,
Index,
The Last Poets,
Visage,
Spandau Ballet,
Black Flag,
Traffic Nightmare,
The Birthday Party,
Sex Pistols,
Kool Moe Dee,
Ornette Coleman,
Babytalk,
Robert Görl,
the Swans,
Ponytail,
Camouflage,
Talk Talk,
Grandmaster Flash and the Furious Five,
Bauhaus,
A Flock of Seagulls,
The Shadows of Knight,
Faraquet,
Reuben Wilson,
Ultra Naté,
Sarah Menescal,
Circle Jerks,
Piero Umiliani,
The Neon Judgement,
The Victims,
Absolute Body Control,
Fat Boys,
Mission of Burma,
EPMD,
Alphaville,
Eli Mardock,
Suicide,
The Count Five,
Scratch Acid,
Gong,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.