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 Togo and from Tehran.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Lagos.
I'm losing my edge to the art-school Cairo 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 The Dead C to the jazz 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 Skaos. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Eric B and Rakim 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Niagra record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Patti Smith,
Lucky Dragons,
Tears for Fears,
JFA,
Max Romeo,
The Busters,
The Mojo Men,
Swell Maps,
Byron Stingily,
Be Bop Deluxe,
Bill Near,
Lightning Bolt,
The Vogues,
Aural Exciters,
Public Enemy,
Television,
Mantronix,
Pussy Galore,
Cheater Slicks,
Siglo XX,
Grandmaster Flash,
Lonnie Liston Smith,
Joy Division,
Nas,
Kurtis Blow,
Pantytec,
Lyres,
The Gladiators,
Ralphi Rosario,
Harpers Bizarre,
Ultravox,
Hoover,
Judy Mowatt,
Warsaw,
The Fire Engines,
The Remains,
Outsiders,
Nils Olav,
Josef K,
Silicon Teens,
Soul II Soul,
Trumans Water,
The Royal Family And The Poor,
Rufus Thomas,
Minny Pops,
The Residents,
Al Stewart,
The Motions,
Funkadelic,
The Selecter,
Suicide,
Kerri Chandler,
Soulsonic Force,
Flamin' Groovies,
Andrew Hill,
Johnny Osbourne,
Marshall Jefferson,
Nick Fraelich,
Index,
Joe Finger,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.