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 St Lucia and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Delhi.
I'm losing my edge to the art-school Paris 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Connie Case to the jazz kids.
I played it at Trash.
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 Letta Mbulu. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal funk 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang on a Can All-Stars,
Erykah Badu,
Dennis Brown,
Infiniti,
Masters at Work,
the Soft Cell,
The Slits,
Moss Icon,
FM Einheit,
Urselle,
Peter and Kerry,
the Human League,
The Moody Blues,
Fort Wilson Riot,
The Velvet Underground,
Basic Channel,
The Men They Couldn't Hang,
Minnie Riperton,
Japan,
L. Decosne,
Lafayette Afro Rock Band,
Donny Hathaway,
The Wake,
Lebanon Hanover,
Quadrant,
Television Personalities,
R.M.O.,
cv313,
The Alarm Clocks,
Eden Ahbez,
Laurel Aitken,
The Smiths,
Thinking Fellers Union Local 282,
Fad Gadget,
Orchestral Manoeuvres in the Dark,
48th St. Collective,
Deadbeat,
Gerry Rafferty,
Duran Duran,
Quantec,
Lalo Schifrin,
The Saints,
The Residents,
Bluetip,
Curtis Mayfield,
Ohio Players,
Blossom Toes,
Throbbing Gristle,
The Skatalites,
Gichy Dan,
Oppenheimer Analysis,
Model 500,
Clear Light,
Henry Cow,
Icehouse,
Dr. Dre and Snoop Doggy Dog,
Ludus,
Camberwell Now,
Blake Baxter,
Andrew Ashong & Theo Parrish,
John Cale,
Subhumans,
Lalann, Lalann, Lalann, Lalann.
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.