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 Mali and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and Glasgow.
I'm losing my edge to the art-school Spokane 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe 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 Kings Of Tomorrow to the funk kids.
I played it at the Astoria.
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 Barry Ungar. All the underground hits.
All the Association tracks. I heard you have a vinyl of every The Remains 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
MC5,
Gang Gang Dance,
Kerrie Biddell,
Bauhaus,
Rapeman,
Kas Product,
Oppenheimer Analysis,
Little Man,
Ludus,
Ultramagnetic MC's,
Fifty Foot Hose,
Vaughan Mason & Crew,
Ronnie Foster,
The Remains,
The Monochrome Set,
Scrapy,
Hardrive,
Blossom Toes,
Bobby Byrd,
Massinfluence,
Trumans Water,
Technova,
Glambeats Corp.,
Guru Guru,
Pierre Henry,
The Detroit Cobras,
CMW,
Scientists,
Parry Music,
The Gories,
The Flesh Eaters,
Spoonie Gee,
Country Joe & The Fish,
Jacob Miller,
The Divine Comedy,
The Cramps,
The Gun Club,
Subhumans,
Manfred Mann's Earth Band,
The Invisible,
Kaleidoscope,
Marc Almond,
Angry Samoans,
Masters at Work,
The Electric Prunes,
The Vogues,
KRS-One,
Lonnie Liston Smith,
Monolake,
Thee Headcoats,
the Fania All-Stars,
Arthur Verocai,
The Barracudas,
Roxette,
The Moody Blues,
Lafayette Afro Rock Band,
The Fuzztones,
The Zeros,
New Order,
Franke,
Moss Icon,
The Count Five, The Count Five, The Count Five, The Count Five.
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.