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 Costa Rica and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Woodstock 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 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 ABC to the funk kids.
I played it at the Crocodile.
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 Chocolate Watch Band. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Franke,
CMW,
Brass Construction,
Tomorrow,
Little Man,
Magma,
The Move,
Faraquet,
Art Ensemble Of Chicago,
Sexual Harrassment,
Pierre Henry,
Delta 5,
Lindisfarne,
Wolf Eyes,
Yellowson,
Eve St. Jones,
Agent Orange,
Country Teasers,
Nik Kershaw,
The Fall,
Mantronix,
The Birthday Party,
Aswad,
Wire,
Suburban Knight,
Terry Callier,
Camouflage,
Michelle Simonal,
Outsiders,
Ice-T,
The Fuzztones,
The Pretty Things,
Sad Lovers and Giants,
Vaughan Mason & Crew,
Sam Rivers,
The Beau Brummels,
the Bar-Kays,
ABBA,
Thompson Twins,
Robert Wyatt,
the Association,
Josef K,
Television Personalities,
LL Cool J,
Black Flag,
The Mummies,
the Swans,
Ponytail,
Richard Hell and the Voidoids,
The Standells,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Erasure,
Mr. Review,
Sonic Youth,
Black Pus,
Davy DMX,
Major Organ And The Adding Machine,
Half Japanese,
Kings Of Tomorrow,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.