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 Costa Rica and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Accra.
I'm losing my edge to the art-school Lille 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 snare 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 Bush Tetras to the funk 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 A Flock of Seagulls. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Sparks,
The Dead C,
The Buckinghams,
Kings Of Tomorrow,
The Victims,
Super Lover Cee & Casanova Rud,
Rhythim Is Rhythim,
Cameo,
H. Thieme,
Susan Cadogan,
Dead Boys,
the Swans,
Minnie Riperton,
Don Cherry,
Connie Case,
Accadde A,
Hasil Adkins,
Electric Light Orchestra,
Masters at Work,
The Red Krayola,
Fugazi,
Cluster,
Clear Light,
Richard Hell and the Voidoids,
Jerry Gold Smith,
The Mighty Diamonds,
Rhythm & Sound,
Monolake,
Crispy Ambulance,
Andrew Hill,
Carl Craig,
The Grass Roots,
Bobby Womack,
Fat Boys,
Harpers Bizarre,
Siglo XX,
Robert Wyatt,
Moebius,
Severed Heads,
The New Christs,
The Trojans,
Guru Guru,
Underground Resistance,
LL Cool J,
Arab on Radar,
8 Eyed Spy,
Public Image Ltd.,
Avey Tare's Slasher Flicks,
Howard Jones,
The Associates,
Echospace,
Joe Smooth,
Eric Dolphy,
Kaleidoscope,
Flamin' Groovies,
Marc Romboy vs. Booka Shade,
Unrelated Segments,
Visage,
Altered Images,
James White and The Blacks,
Inner City,
Ituana, Ituana, Ituana, Ituana.
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.