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 Brazil and from Paris.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Nick Cave & The Bad Seeds to the funk kids.
I played it at the Roxy.
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 Associates. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
Matthew Bourne,
Intrusion,
Harpers Bizarre,
Rakim,
Kango’s Stein Massive,
The Men They Couldn't Hang,
The Fire Engines,
Archie Shepp,
Tomorrow,
Skriet,
Nik Kershaw,
Ajijia Myrayebe,
Brand Nubian,
Urselle,
the Fania All-Stars,
Soul II Soul,
The Flesh Eaters,
JFA,
Fugazi,
Schoolly D,
Icehouse,
Index,
Fear,
Drive Like Jehu,
Sonny Sharrock,
Pole,
Slave,
Lightning Bolt,
Pantytec,
Man Parrish,
Louis and Bebe Barron,
Laurel Aitken,
Sister Nancy,
Eric B and Rakim,
The Doors,
Warren Ellis,
Soft Cell,
the Swans,
The Associates,
Roy Ayers Ubiquity,
Siouxsie and the Banshees,
Royal Trux,
Lou Reed & Metallica,
Main Source,
Neil Young,
Banda Bassotti,
Bill Near,
Deadbeat,
Pet Shop Boys,
Bobby Hutcherson,
Youth Brigade,
Frankie Knuckles,
John Coltrane,
The Raincoats,
Blancmange,
Scratch Acid,
T. Rex,
Negative Approach,
June of 44,
T.S.O.L.,
the Soft Cell,
The Move, The Move, The Move, The Move.
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.