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 Samoa and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1974.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Hong Kong 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 chamberlin 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 Rhythm & Sound to the dance kids.
I played it at the Crocodile.
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 James Chance & The Contortions. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal punk 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 a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Ronnie Foster,
The Electric Prunes,
the Soft Cell,
New Age Steppers,
Pharoah Sanders,
This Heat,
Freddie Wadling,
Lakeside,
Stereo Dub,
Todd Rundgren,
Scratch Acid,
The Selecter,
The Detroit Cobras,
Ken Boothe,
Joey Negro,
Blancmange,
kango's stein massive,
Graham Central Station,
Thinking Fellers Union Local 282,
Cameo,
Notorious Big And Bone Thugs,
Rotary Connection,
The Index,
Minutemen,
Trumans Water,
Major Organ And The Adding Machine,
Bobbi Humphrey,
the Normal,
Black Pus,
Lucky Dragons,
Youth Brigade,
Deutsch Amerikanische Freundschaft,
Silicon Teens,
The Moleskins,
Pantaleimon,
Con Funk Shun,
Zero Boys,
Jacques Brel,
Jeff Mills,
The Stooges,
Banda Bassotti,
The Victims,
Excepter,
Bauhaus,
Severed Heads,
Mantronix,
Zapp,
The Fortunes,
Radio Birdman,
The Evens,
Rahsaan Roland Kirk,
The Offenders,
Interpol,
Mark Hollis,
Eli Mardock,
Public Enemy,
Idris Muhammad,
Sad Lovers and Giants,
The Associates,
OOIOO,
The Seeds,
Nation of Ulysses, Nation of Ulysses, Nation of Ulysses, Nation of Ulysses.
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.