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 Armenia and from Lyon.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Bremen.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 The Dirtbombs to the grime 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 Rhythim Is Rhythim. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Jawbox 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Anakelly,
Sly & The Family Stone,
The Music Machine,
Reagan Youth,
Jesper Dahlback,
Shuggie Otis,
Stiv Bators,
Aural Exciters,
Country Joe & The Fish,
the Association,
Wally Richardson,
Mission of Burma,
Derrick Morgan,
Godley & Creme,
Camron Feat. Jay Z And Juelz,
Ken Boothe,
Susan Cadogan,
The Doobie Brothers,
Reuben Wilson,
The Litter,
Tears for Fears,
Spandau Ballet,
Lungfish,
The Black Dice,
Funkadelic,
Half Japanese,
Soulsonic Force,
Maleditus Sound,
Siouxsie and the Banshees,
The Pretty Things,
Rod Modell,
Drive Like Jehu,
Captain Beefheart & His Magic Band,
Guru Guru,
Black Pus,
Sun Ra,
Danielle Patucci,
Charles Mingus,
Peter and Kerry,
Eurythmics,
Mars,
Lizzy Mercier Descloux,
The Names,
Bobby Hutcherson,
Terrestrial Tones,
Kas Product,
Manfred Mann's Earth Band,
Cameo,
Amon Düül,
Liaisons Dangereuses,
Bootsy's Rubber Band,
Vaughan Mason & Crew,
Roger Hodgson,
Roy Ayers,
Sandy B,
Fatback Band,
Delon & Dalcan,
Sam Rivers,
Joyce Sims,
The Birthday Party,
Pete Rock & C.L. Smooth,
Rapeman,
Bobby Womack, Bobby Womack, Bobby Womack, Bobby Womack.
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.