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 Armenia and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Lyon and Jakarta.
I'm losing my edge to the art-school Johannesburg 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Ludus to the rap kids.
I played it at the Troubador.
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 Au Pairs. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Crispian St. Peters 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Mantronix record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Be Bop Deluxe,
Accadde A,
The Men They Couldn't Hang,
Oblivians,
CMW,
Warren Ellis,
U.S. Maple,
Pantytec,
Absolute Body Control,
The Offenders,
The Modern Lovers,
Throbbing Gristle,
Marine Girls,
Sugar Minott,
The Searchers,
Flamin' Groovies,
Anthony Braxton,
Aural Exciters,
The Flesh Eaters,
DJ Sneak,
Public Image Ltd.,
June of 44,
The Walker Brothers,
Scion,
Stereo Dub,
Rosa Yemen,
Spoonie Gee,
David McCallum,
Kango’s Stein Massive,
The Misunderstood,
Frankie Knuckles,
Los Fastidios,
Mark Hollis,
Echo & the Bunnymen,
The Young Rascals,
Niagra,
Brand Nubian,
Shuggie Otis,
James White and The Blacks,
Tears for Fears,
Peter Gordon & Love of Life Orchestra,
Lou Reed & John Cale,
The Barracudas,
The Detroit Cobras,
The Dead C,
Neu!,
Nik Kershaw,
The Fire Engines,
MC5,
The Cramps,
Vaughan Mason & Crew,
Theoretical Girls,
T.S.O.L.,
Robert Hood,
Lebanon Hanover,
The Electric Prunes,
Rekid,
Shoche,
Scrapy,
D'Angelo,
JFA, JFA, JFA, JFA.
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.