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 Iceland 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 1962 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Philadelphia 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Warsaw to the electroclash 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 Rufus Thomas. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
the Swans,
Rapeman,
Qualms,
Dr. Dre and Snoop Doggy Dog,
Cymande,
Mary Jane Girls,
Heavy D & The Boyz,
Pagans,
Sonny Sharrock,
Fear,
Traffic Nightmare,
Eddi Front,
Sam Rivers,
The Detroit Cobras,
Los Fastidios,
Harry Pussy,
Japan,
Visage,
Moby Grape,
Goldenarms,
Spandau Ballet,
DeepChord presents Echospace,
Ice-T,
Zero Boys,
Fluxion,
The Moleskins,
Fatback Band,
The Peanut Butter Conspiracy,
Man Eating Sloth,
Schoolly D,
Grandmaster Flash,
Scrapy,
David Bowie,
Sixth Finger,
Isaac Hayes,
Ralphi Rosario,
Dark Day,
Sonic Youth,
Kurtis Blow,
Peter Gordon & Love of Life Orchestra,
Wire,
The Techniques,
Selector Dub Narcotic,
Nik Kershaw,
Leonard Cohen,
Brass Construction,
The Blues Magoos,
Connie Case,
Barrington Levy,
Larry & the Blue Notes,
Byron Stingily,
The Fuzztones,
Matthew Bourne,
Alphaville,
Vaughan Mason & Crew,
Lightning Bolt,
Shuggie Otis,
Avey Tare's Slasher Flicks,
Yellowson,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.