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 Botswana and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Portland and Paris.
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 1978 at the first Visage practice in a loft in London.
I was working on the sitar 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 Be Bop Deluxe to the electroclash kids.
I played it at the Hacienda.
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 Derrick May. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Lou Christie 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Erykah Badu,
Urselle,
Fort Wilson Riot,
Black Pus,
Rufus Thomas,
Sam Rivers,
Funky Four + One,
Crash Course in Science,
The Remains,
Spoonie Gee,
Gabor Szabo,
Camberwell Now,
World's Most,
the Soft Cell,
Ossler,
Rowland S Howard / Lydia Lunch,
Sight & Sound,
Jerry's Kids,
The Velvet Underground,
Sister Nancy,
Interpol,
Bang on a Can All-Stars,
Peter Gordon & Love of Life Orchestra,
The Gap Band,
The Moleskins,
Toni Rubio,
The Detroit Cobras,
Pharoah Sanders,
Siouxsie and the Banshees,
Metal Thangz,
Joey Negro,
Adolescents,
Frankie Knuckles,
Camouflage,
Brass Construction,
Brand Nubian,
Faraquet,
Lightning Bolt,
Bizarre Inc.,
Scott Walker,
Jeff Mills,
Barclay James Harvest,
AZ,
Bauhaus,
Rekid,
Bluetip,
Dark Day,
Symarip,
Tubeway Army,
Andrew Ashong & Theo Parrish,
Country Teasers,
The Vogues,
These Immortal Souls,
Delon & Dalcan,
Con Funk Shun,
The Birthday Party,
Terror Squad Feat. Camron,
It's A Beautiful Day,
Half Japanese,
Kas Product, Kas Product, Kas Product, Kas Product.
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.