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 Grenada and from Edmonton.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Taipei 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 the Soft Cell to the electroclash kids.
I played it at the Roxy.
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 Notorious BIG live in Amsterdam. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Harry Pussy record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
FM Einheit,
Lafayette Afro Rock Band,
Fugazi,
Erasure,
Minny Pops,
The Music Machine,
Joyce Sims,
Roy Ayers,
Rowland S Howard / Lydia Lunch,
Gang of Four,
Notorious BIG live in Amsterdam,
Oneida,
June Days,
Wighnomy Brothers & Robag Wruhme,
Hardrive,
Matthew Halsall,
The Slits,
Fear,
Babytalk,
Panda Bear,
Ituana,
Yusef Lateef,
Sex Pistols,
Kango’s Stein Massive,
Faust,
Isaac Hayes,
Gian Franco Pienzio,
The Smoke,
Silicon Teens,
Johnny Clarke,
Pete Rock & C.L. Smooth,
Eve St. Jones,
The Gories,
Pet Shop Boys,
Bill Wells,
Suburban Knight,
Todd Rundgren,
Television Personalities,
Max Romeo,
Matthew Bourne,
Ultimate Spinach,
Talk Talk,
The Alarm Clocks,
Röyhkä ja Rättö ja Lehtisalo,
Monolake,
Deadbeat,
Slave,
Black Pus,
Delta 5,
Franke,
Bobby Sherman,
Fat Boys,
Goldenarms,
Jerry Gold Smith,
Mission of Burma,
Funky Four + One,
Lonnie Liston Smith,
Smog, Smog, Smog, Smog.
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.