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 South Sudan and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1978.
I'm losing my edge.
To all the kids in New York and Delhi.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator 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 Erasure to the dance kids.
I played it at the 40 Watt.
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 Public Enemy. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every Black Sheep 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Tomorrow,
Marshall Jefferson,
Fad Gadget,
the Sonics,
Aloha Tigers,
Roxette,
Clear Light,
The Royal Family And The Poor,
Banda Bassotti,
Kaleidoscope,
Skaos,
U.S. Maple,
Andrew Hill,
Minnie Riperton,
Public Enemy,
Pharoah Sanders,
Mo-Dettes,
Lebanon Hanover,
Johnny Clarke,
Sonic Youth,
Unrelated Segments,
Bootsy's Rubber Band,
Soft Cell,
Dual Sessions,
Ohio Players,
Main Source,
Gang Starr,
Kas Product,
Robert Görl,
Vaughan Mason & Crew,
ABBA,
Lyres,
K-Klass,
Visage,
Erasure,
Alice Coltrane,
UT,
Nirvana,
Tropical Tobacco,
Cecil Taylor,
Crispian St. Peters,
Rod Modell,
the Association,
Negative Approach,
Kings Of Tomorrow,
The Associates,
The Men They Couldn't Hang,
Depeche Mode,
Darondo,
Lower 48,
Slick Rick,
Grandmaster Flash and the Furious Five,
Drive Like Jehu,
Soft Machine,
Swans,
Flash Fearless,
Magma,
Kool Moe Dee,
Crash Course in Science,
Minor Threat,
The Black Dice,
Gil Scott-Heron and Jamie xx,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.