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 Burkina and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1971.
I'm losing my edge.
To all the kids in Delhi and Manila.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Tim Buckley to the dance 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 Ajijia Myrayebe. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Cheater Slicks 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
The Fall,
Bobby Sherman,
Public Enemy,
Howard Jones,
The Star Department,
James Chance & The Contortions,
Jesper Dahlback,
Bizarre Inc.,
Ultra Naté,
The Grass Roots,
Dead Boys,
Popol Vuh,
Boz Scaggs,
The Trojans,
FM Einheit,
Delta 5,
Rufus Thomas,
The Sound,
Basic Channel,
cv313,
Prince Buster,
Sandy B,
The Residents,
Ice-T,
48th St. Collective,
Hasil Adkins,
Barrington Levy,
Chrome,
Amazonics,
One Last Wish,
Niagra,
The United States of America,
A Certain Ratio,
Main Source,
The Happenings,
the Fania All-Stars,
Strawberry Alarm Clock,
Piero Umiliani,
Camberwell Now,
The Divine Comedy,
X-Ray Spex,
DeepChord presents Echospace,
The Alarm Clocks,
Cybotron,
Eyeless In Gaza,
The Mummies,
Cheater Slicks,
Sonny Sharrock,
Das Ding,
K-Klass,
Nation of Ulysses,
Roy Ayers Ubiquity,
New Order,
Morten Harket,
Ituana,
Iggy Pop,
Excepter,
Avey Tare's Slasher Flicks,
Aaron Thompson,
Country Joe & The Fish,
Manfred Mann's Earth Band,
Sly & The Family Stone,
The Associates, The Associates, The Associates, The Associates.
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.