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 Bangladesh and from Bologna.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1975.
I'm losing my edge.
To all the kids in Seoul and Bologna.
I'm losing my edge to the art-school Manchester 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 arpeggiator 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 Bang On A Can to the techno 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 New Age Steppers. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Letta Mbulu,
Joe Finger,
Pantaleimon,
Crispy Ambulance,
Ludus,
The Walker Brothers,
Junior Murvin,
Jesper Dahlbäck,
The Royal Family And The Poor,
Rahsaan Roland Kirk,
Eve St. Jones,
Talk Talk,
Danielle Patucci,
Lalann,
Grandmaster Flash and the Furious Five,
Minny Pops,
Freddie Wadling,
Motorama,
Babytalk,
A Certain Ratio,
The Trojans,
Barry Ungar,
Depeche Mode,
The Grass Roots,
H. Thieme,
Andrew Hill,
Scratch Acid,
Drexciya,
Spandau Ballet,
Bill Wells,
Pole,
Bobby Byrd,
Ronan,
Lou Reed & John Cale,
U.S. Maple,
Thinking Fellers Union Local 282,
Laurel Aitken,
Little Man,
Marmalade,
Eric Dolphy,
Bootsy Collins,
Model 500,
These Immortal Souls,
Harry Pussy,
Soul Sonic Force,
Adolescents,
Zero Boys,
Vaughan Mason & Crew,
Soulsonic Force,
Lower 48,
Infiniti,
Accadde A,
Fat Boys,
Grandmaster Flash,
Matthew Halsall,
Siouxsie and the Banshees,
Black Sheep,
Davy DMX,
Malaria!,
Dark Day,
Gang Gang Dance,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.