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 Germany and from Mumbai.
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 1970.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Beijing 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 güiro 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 Terror Squad Feat. Camron to the funk kids.
I played it at the Troubador.
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 Joe Finger tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
Harry Pussy,
The Young Rascals,
Judy Mowatt,
Ultramagnetic MC's,
The Busters,
Organ,
Quando Quango,
Soft Machine,
Ultimate Spinach,
Arcadia,
The Cowsills,
Minutemen,
Wally Richardson,
John Foxx,
The Moleskins,
Stiv Bators,
Fela Kuti,
Metal Thangz,
Sight & Sound,
Tears for Fears,
Masters at Work,
Boredoms,
Piero Umiliani,
The Red Krayola,
Flipper,
the Normal,
The Dirtbombs,
Popol Vuh,
the Human League,
Sexual Harrassment,
Young Marble Giants,
Larry & the Blue Notes,
The Monochrome Set,
Marc Romboy vs. Booka Shade,
Symarip,
Laurel Aitken,
UT,
Barry Ungar,
DJ Sneak,
Johnny Clarke,
Ten City,
Excepter,
Boz Scaggs,
Sticky Fingaz feat. Raekwon,
E-Dancer,
Monolake,
Oppenheimer Analysis,
Steve Hackett,
Richard Hell and the Voidoids,
Black Flag,
Fat Boys,
Idris Muhammad,
The Victims,
The Standells,
The Blues Magoos,
Pylon,
Maleditus Sound,
Black Pus,
Eric Copeland,
London Community Gospel Choir,
Graham Central Station,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.