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 Somalia and from Milan.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1972.
I'm losing my edge.
To all the kids in London and Accra.
I'm losing my edge to the art-school Beijing 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Stereo Dub to the funk 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 The Techniques. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Intrusion,
Nirvana,
Bootsy Collins,
The Music Machine,
Pere Ubu,
Tropical Tobacco,
Silicon Teens,
Joey Negro,
Fela Kuti,
Rotary Connection,
Marmalade,
Crash Course in Science,
Half Japanese,
Babytalk,
Erykah Badu,
Sam Rivers,
48th St. Collective,
Susan Cadogan,
Röyhkä ja Rättö ja Lehtisalo,
The Victims,
Deepchord,
Mandrill,
the Normal,
Deutsch Amerikanische Freundschaft,
Peter Gordon & Love of Life Orchestra,
Carl Craig,
Von Mondo,
June of 44,
Sällskapet,
Black Sheep,
The Walker Brothers,
Faraquet,
Andrew Ashong & Theo Parrish,
Iggy Pop,
New Order,
Accadde A,
EPMD,
The Barracudas,
Flamin' Groovies,
Aswad,
Orchestral Manoeuvres in the Dark,
Wighnomy Brothers & Robag Wruhme,
the Swans,
New York Dolls,
Dawn Penn,
Neil Young,
Jandek,
Johnny Clarke,
Echo & the Bunnymen,
The Knickerbockers,
Mission of Burma,
Tim Buckley,
Bush Tetras,
Connie Case,
Delon & Dalcan,
Bluetip,
Zapp,
The Fall,
Donny Hathaway,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.