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 Yemen and from Houston.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Taipei and Paris.
I'm losing my edge to the art-school Lyon 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Blossom Toes to the techno kids.
I played it at the Hacienda.
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 Fugazi. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Yellowson 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Angry Samoans,
Grauzone,
Albert Ayler,
Tomorrow,
Gerry Rafferty,
The United States of America,
Piero Umiliani,
Major Organ And The Adding Machine,
Joe Finger,
Slick Rick,
The Fall,
Ajijia Myrayebe,
Ten City,
Wasted Youth,
Dawn Penn,
Ituana,
The Alarm Clocks,
The Residents,
Model 500,
Matthew Bourne,
Fort Wilson Riot,
Cheater Slicks,
Sun Ra,
The Music Machine,
Hoover,
La Düsseldorf,
Kings Of Tomorrow,
Echospace,
The Neon Judgement,
Sam Rivers,
Man Eating Sloth,
The Names,
The Peanut Butter Conspiracy,
Junior Murvin,
Rites of Spring,
Lonnie Liston Smith,
Sex Pistols,
The Gories,
Fela Kuti,
Desert Stars,
Kool G Rap & DJ Polo,
Hot Snakes,
the Sonics,
Metal Thangz,
The Blackbyrds,
Morten Harket,
B.T. Express,
The Mummies,
Funky Four + One,
Symarip,
Michelle Simonal,
Suicide,
cv313,
Marcia Griffiths,
Lightning Bolt,
A Flock of Seagulls,
London Community Gospel Choir,
Roy Ayers Ubiquity,
Groovy Waters,
Mantronix,
Aloha Tigers,
Young Marble Giants,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.