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 Russia and from Edmonton.
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 1967 to 1974.
I'm losing my edge.
To all the kids in London and Mexico City.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 John Cale to the funk kids.
I played it at the Astoria.
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 Index. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Essential Logic record on German import.
I heard that you have a white label of every seminal techno 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 snare and a 808 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 snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
It's A Beautiful Day,
Aural Exciters,
Wally Richardson,
In Retrospect,
Mad Mike,
Anakelly,
Monks,
Radio Birdman,
Spandau Ballet,
Lee Hazlewood,
The Chocolate Watch Band,
Red Lorry Yellow Lorry,
Scrapy,
Amazonics,
The Stooges,
Cheater Slicks,
The Cramps,
Gong,
Kurtis Blow,
Matthew Bourne,
The Tremeloes,
Major Organ And The Adding Machine,
Con Funk Shun,
Gang of Four,
Flamin' Groovies,
Ultravox,
Jerry Gold Smith,
Quando Quango,
The Modern Lovers,
Erasure,
Pharoah Sanders,
Mandrill,
Danielle Patucci,
Nation of Ulysses,
Hasil Adkins,
The Electric Prunes,
Sparks,
Fela Kuti,
Charles Mingus,
The Busters,
Big Daddy Kane,
The Fortunes,
Idris Muhammad,
Interpol,
Agent Orange,
Todd Terry,
Nick Cave & The Bad Seeds,
The West Coast Pop Art Experimental Band,
Joyce Sims,
Symarip,
Oppenheimer Analysis,
The Five Americans,
Johnny Osbourne,
Cybotron,
Selector Dub Narcotic,
Stereo Dub,
Sandy B,
The Fugs,
Livin' Joy,
Blake Baxter,
The New Christs,
The Fall,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.