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 Jordan and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Delhi.
I'm losing my edge to the art-school Bologna 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 güiro 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 Deutsch Amerikanische Freundschaft to the jazz 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 Doors. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Byron Stingily 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Grandmaster Flash,
Magazine,
Peter & Gordon,
T.S.O.L.,
Terry Callier,
Hoover,
The Fugs,
Juan Atkins,
Blancmange,
James White and The Blacks,
Harmonia,
Rufus Thomas,
June of 44,
A Flock of Seagulls,
Big Daddy Kane,
Television,
Gang of Four,
Eric Dolphy,
Organ,
In Retrospect,
Sister Nancy,
Joe Finger,
Kauko Röyhkä ja Narttu,
Lindisfarne,
Darondo,
Delon & Dalcan,
Alton Ellis,
Althea and Donna,
Swans,
The Gun Club,
Idris Muhammad,
Sugar Minott,
Black Bananas,
Pharoah Sanders,
Skarface,
Mantronix,
The New Christs,
Pulsallama,
Throbbing Gristle,
Cluster,
Nils Olav,
Wings,
Hot Snakes,
John Coltrane,
The Index,
Ornette Coleman,
Anakelly,
K-Klass,
Camberwell Now,
The United States of America,
B.T. Express,
Gregory Isaacs,
Basic Channel,
John Foxx,
Television Personalities,
John Holt,
This Heat,
The Blackbyrds,
The Cramps,
Das Ding,
Liliput, Liliput, Liliput, Liliput.
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.