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 Philippines and from Johannesburg.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Shanghai 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 snare 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 Lyres to the techno kids.
I played it at the Spitz.
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 Moody Blues. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal rock 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
The Grass Roots,
Kool G Rap & DJ Polo,
Quando Quango,
The Smoke,
Gang Starr,
Marcia Griffiths,
EPMD,
The Standells,
Archie Shepp,
Fifty Foot Hose,
Nick Fraelich,
Angels of Light & Akron/Family,
Slick Rick,
Cluster,
Stetsasonic,
Marvin Gaye,
Ronan,
Marc Romboy vs. Booka Shade,
the Soft Cell,
Graham Central Station,
Lakeside,
Section 25,
Mo-Dettes,
Lower 48,
Matthew Bourne,
Thompson Twins,
Ice-T,
Mars,
La Düsseldorf,
Half Japanese,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rosa Yemen,
John Foxx,
Spandau Ballet,
Amazonics,
Avey Tare's Slasher Flicks,
Johnny Osbourne,
Deakin,
Sam Rivers,
Sun Ra Arkestra,
Beasts of Bourbon,
Gichy Dan,
Supertramp,
Agent Orange,
Chris & Cosey,
Kango’s Stein Massive,
Popol Vuh,
Dennis Brown,
Reagan Youth,
The Cure,
Ornette Coleman,
The Blues Magoos,
New York Dolls,
Groovy Waters,
Bootsy's Rubber Band,
Parry Music,
Mr. Review,
Manfred Mann's Earth Band,
UT,
Vaughan Mason & Crew,
Brothers Johnson,
Rotary Connection,
Scientists,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.