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 Greece and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tehran and London.
I'm losing my edge to the art-school Bremen 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Grandmaster Flash to the grime 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 Laurel Aitken. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Sam Rivers,
Y Pants,
The Chocolate Watch Band,
A Certain Ratio,
Bobbi Humphrey,
Pantytec,
Minutemen,
Hashim,
Unrelated Segments,
Andrew Hill,
Wasted Youth,
Camouflage,
Metal Thangz,
Delta 5,
Niagra,
Nas,
The Raincoats,
The Blackbyrds,
Zapp,
Outsiders,
Flipper,
Cybotron,
Terrestrial Tones,
The Flesh Eaters,
Pylon,
The Fire Engines,
Silicon Teens,
The Black Dice,
Ajijia Myrayebe,
Eyeless In Gaza,
John Holt,
the Bar-Kays,
X-Ray Spex,
Lonnie Liston Smith,
Jerry's Kids,
Kerrie Biddell,
8 Eyed Spy,
Parry Music,
Qualms,
Sällskapet,
Groovy Waters,
Swell Maps,
Terry Callier,
The Men They Couldn't Hang,
Ten City,
Das Ding,
The Shadows of Knight,
The Golliwogs,
Radiohead,
The Monochrome Set,
Nico,
Erasure,
John Foxx,
Gastr Del Sol,
Public Enemy,
Red Lorry Yellow Lorry,
Accadde A,
John Coltrane,
Barry Ungar,
Nils Olav,
Infiniti,
Ice-T, Ice-T, Ice-T, Ice-T.
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.