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 Nicaragua and from Salvador.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Halifax.
I'm losing my edge to the art-school London 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Funky Four + One to the crunk 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 Angry Samoans. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal punk 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 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Harmonia,
Niagra,
48th St. Collective,
Mantronix,
The Barracudas,
Lyres,
Scion,
The Divine Comedy,
Surgeon,
Monolake,
Desert Stars,
UT,
A Flock of Seagulls,
Sarah Menescal,
The Remains,
Bang On A Can,
Stockholm Monsters,
the Swans,
Scan 7,
Patti Smith,
The Misunderstood,
Siglo XX,
T.S.O.L.,
Qualms,
Liliput,
Q and Not U,
CMW,
Ohio Players,
The Mojo Men,
Kerri Chandler,
Hasil Adkins,
Electric Prunes,
Clear Light,
Rekid,
The Shadows of Knight,
Zapp,
Half Japanese,
the Bar-Kays,
Thee Headcoats,
Ice-T,
Deutsch Amerikanische Freundschaft,
Avey Tare & Kría Brekkan,
Lightning Bolt,
Gerry Rafferty,
Eli Mardock,
Maleditus Sound,
Make Up,
Laurel Aitken,
The Leaves,
ABC,
Arcadia,
Pete Rock & C.L. Smooth,
Black Bananas,
Oblivians,
Can,
Camouflage,
Traffic Nightmare,
The Moleskins,
Isaac Hayes,
Lungfish,
Blancmange,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.