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 Colombia and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Halifax and Toronto.
I'm losing my edge to the art-school Toronto 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 oboe sounds with much patience.
I was there when Lou Reed 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 Masters at Work to the grime kids.
I played it at the Troubador.
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 Circle Jerks. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultramagnetic MC's record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Slick Rick,
The Toasters,
Second Layer,
The Doors,
Fifty Foot Hose,
Absolute Body Control,
Nik Kershaw,
Drexciya,
Interpol,
Tomorrow,
Big Daddy Kane,
Yellowson,
The Happenings,
Depeche Mode,
Vaughan Mason & Crew,
U.S. Maple,
One Last Wish,
Sarah Menescal,
Bill Wells,
Surgeon,
Reuben Wilson,
Selector Dub Narcotic,
The Durutti Column,
Talk Talk,
Sällskapet,
Rowland S Howard / Lydia Lunch,
The Remains,
L. Decosne,
The Busters,
Kas Product,
The Last Poets,
Pierre Henry,
Make Up,
Sandy B,
Scion,
Dark Day,
Grauzone,
The Grass Roots,
Don Cherry,
Youth Brigade,
Supertramp,
Sexual Harrassment,
The Dirtbombs,
Little Man,
John Holt,
Goldenarms,
Funkadelic,
Mark Hollis,
Echospace,
Peter Gordon & Love of Life Orchestra,
Rotary Connection,
Ronan,
Kayak,
The Velvet Underground,
Derrick May,
Suburban Knight,
The Motions,
Judy Mowatt,
Pole,
The Evens,
Magma,
Oblivians, Oblivians, Oblivians, Oblivians.
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.