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 Liberia and from Glasgow.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Lille and Mexico City.
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 Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Avey Tare to the crunk kids.
I played it at CBGB's.
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 Nick Cave & The Bad Seeds. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Blake Baxter record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
The Fall,
Deadbeat,
Alphaville,
Pere Ubu,
The Dirtbombs,
The Victims,
Soulsonic Force,
Neu!,
Terrestrial Tones,
Nik Kershaw,
Ronan,
Darondo,
Schoolly D,
Kurtis Blow,
Man Eating Sloth,
Gabor Szabo,
Stiv Bators,
Robert Görl,
Parry Music,
Alton Ellis,
Icehouse,
Hoover,
Royal Trux,
The Saints,
Barbara Tucker,
Laurel Aitken,
Soft Machine,
Gang Starr,
JFA,
Moebius,
Excepter,
Althea and Donna,
Siouxsie and the Banshees,
The Star Department,
DJ Style,
Bootsy Collins,
Sparks,
Television,
Young Marble Giants,
Godley & Creme,
Smog,
The Zeros,
Cal Tjader,
Archie Shepp,
Sun Ra,
Mars,
Sad Lovers and Giants,
the Normal,
Justin Hinds & The Dominoes,
Janne Schatter,
Severed Heads,
Sugar Minott,
Dark Day,
D'Angelo,
Kas Product,
Procol Harum,
Organ,
The Jesus and Mary Chain,
Rhythim Is Rhythim,
The Grass Roots,
Röyhkä ja Rättö ja Lehtisalo,
DJ Sneak,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.