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 Somalia and from Lagos.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 Josef K practice in a loft in Edinburgh.
I was working on the theremin 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 the Bar-Kays to the grime kids.
I played it at Trash.
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 Reagan Youth. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
The Residents,
Underground Resistance,
Jeru the Damaja,
X-101,
Mandrill,
Unrelated Segments,
Bob Dylan,
Soft Machine,
The Chocolate Watch Band,
Dead Boys,
Sight & Sound,
Rod Modell,
The Knickerbockers,
cv313,
Inner City,
Ultravox,
Minnie Riperton,
Avey Tare,
Sexual Harrassment,
Sonny Sharrock,
Ash Ra Tempel,
Brick,
Spandau Ballet,
kango's stein massive,
The Techniques,
The Fuzztones,
Magazine,
La Düsseldorf,
Grandmaster Flash and the Furious Five,
Roger Hodgson,
Porter Ricks,
Laurel Aitken,
Bizarre Inc.,
Grey Daturas,
Black Moon,
The Happenings,
Little Man,
Janne Schatter,
T. Rex,
Radiopuhelimet,
The Last Poets,
The Gories,
48th St. Collective,
Lalann,
Marshall Jefferson,
Radio Birdman,
Minny Pops,
Sam Rivers,
Alton Ellis,
Barbara Tucker,
Bobby Hutcherson,
Black Bananas,
The Monks,
Wings,
Nirvana,
Hasil Adkins,
K-Klass,
Marvin Gaye,
Man Parrish,
Sonic Youth, Sonic Youth, Sonic Youth, Sonic Youth.
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.