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 Malta and from Milan.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Lyon.
I'm losing my edge to the art-school Milan 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 theremin sounds with much patience.
I was there when David Bowie 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 Godley & Creme to the funk kids.
I played it at the Astoria.
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 John Coltrane. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Black Flag 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 '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
T. Rex,
Boz Scaggs,
The Neon Judgement,
Public Image Ltd.,
Al Stewart,
Orchestral Manoeuvres in the Dark,
James Chance & The Contortions,
Sarah Menescal,
Crispy Ambulance,
The Golliwogs,
Lalo Schifrin,
Pharaoh Sanders and the Fire Engines,
Make Up,
Larry & the Blue Notes,
Rosa Yemen,
Bluetip,
Piero Umiliani,
The Five Americans,
Soft Machine,
the Swans,
Index,
Smog,
Lou Reed & Metallica,
Angels of Light & Akron/Family,
Niagra,
Bootsy's Rubber Band,
Todd Terry,
Notorious Big And Bone Thugs,
The Beau Brummels,
The Raincoats,
Schoolly D,
Essential Logic,
Chrome,
Main Source,
Ornette Coleman,
Jesper Dahlback,
Graham Central Station,
Dark Day,
Aural Exciters,
Popol Vuh,
Cameo,
Mission of Burma,
Grandmaster Flash and the Furious Five,
Godley & Creme,
Underground Resistance,
One Last Wish,
Agent Orange,
KRS-One,
Ajijia Myrayebe,
Oneida,
Aswad,
Vainqueur,
Albert Ayler,
The Last Poets,
The American Breed,
Eli Mardock,
Eddi Front,
Mad Mike,
Crooked Eye,
Kerri Chandler,
Slave,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.