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 Senegal and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Houston and Toronto.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Section 25 to the grunge kids.
I played it at Trash.
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 Lafayette Afro Rock Band. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Sonny Sharrock,
Reuben Wilson,
Rotary Connection,
The Birthday Party,
Clear Light,
Matthew Halsall,
Lou Reed,
the Slits,
Supertramp,
Boogie Down Productions,
Visionaries,LMNO, T- Love & Iriscience,
Scrapy,
Drive Like Jehu,
Cluster,
Inner City,
MDC,
Duran Duran,
Delon & Dalcan,
Angels of Light & Akron/Family,
Soulsonic Force,
Marcia Griffiths,
Stockholm Monsters,
Bill Near,
Teenage Jesus and the Jerks,
Scientists,
The Count Five,
The Skatalites,
Captain Beefheart & His Magic Band,
Michelle Simonal,
Bang on a Can All-Stars,
K-Klass,
Eric B and Rakim,
Magazine,
James Chance & The Contortions,
Echo & the Bunnymen,
Simply Red,
Liaisons Dangereuses,
The Moleskins,
Röyhkä ja Rättö ja Lehtisalo,
The Pretty Things,
Zero Boys,
Index,
The Raincoats,
Bad Manners,
Reagan Youth,
Spoonie Gee,
Idris Muhammad,
Glambeats Corp.,
The Grass Roots,
DNA,
Bluetip,
Prince Buster,
Kevin Saunderson,
Lou Christie,
Q65,
Rod Modell,
Malaria!,
Alphaville, Alphaville, Alphaville, Alphaville.
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.