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 Armenia and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Calgary and Houston.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 Public Enemy to the rock 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 Hot Snakes. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Guru Guru,
The Sound,
Sound Behaviour,
Soft Cell,
Franke,
Excepter,
Swell Maps,
Bobby Hutcherson,
The Star Department,
Oblivians,
Lalann,
Pulsallama,
Marc Romboy vs. Booka Shade,
Swans,
Eden Ahbez,
Sonic Youth,
The Barracudas,
Lebanon Hanover,
Roy Ayers Ubiquity,
Organ,
LL Cool J,
Byron Stingily,
E-Dancer,
Chrome,
DJ Sneak,
Nick Fraelich,
The Offenders,
Scion,
Matthew Halsall,
Fort Wilson Riot,
Michelle Simonal,
Make Up,
Sister Nancy,
Blancmange,
Super Lover Cee & Casanova Rud,
Andrew Ashong & Theo Parrish,
Sarah Menescal,
Massinfluence,
Schoolly D,
Smog,
The Human League,
Young Marble Giants,
Reagan Youth,
Junior Murvin,
Josef K,
Joe Smooth,
Dave Gahan,
The Last Poets,
Bill Wells,
John Coltrane,
The Litter,
Monks,
The Gun Club,
London Community Gospel Choir,
Yellowson,
Echo & the Bunnymen,
Glambeats Corp.,
Con Funk Shun,
Sam Rivers,
Dual Sessions,
Bobby Womack,
Bronski Beat,
X-102, X-102, X-102, X-102.
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.