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 Norway and from Manila.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1970.
I'm losing my edge.
To all the kids in Tehran and Manila.
I'm losing my edge to the art-school Glasgow 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 Zapp practice in a loft in Hamilton.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 D'Angelo to the techno 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 Visage. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
LL Cool J,
Red Lorry Yellow Lorry,
The Fuzztones,
Mark Hollis,
Interpol,
Public Image Ltd.,
Jacob Miller,
A Certain Ratio,
Brothers Johnson,
Godley & Creme,
Derrick Morgan,
Mo-Dettes,
Letta Mbulu,
Wally Richardson,
The Dead C,
Gil Scott-Heron and Jamie xx,
Heavy D & The Boyz,
Depeche Mode,
Isaac Hayes,
The Neon Judgement,
Aswad,
The Leaves,
X-101,
Jesper Dahlbäck,
R.M.O.,
Khruangbin,
Joe Smooth,
Scrapy,
Underground Resistance,
Eric Copeland,
Jeru the Damaja,
The Misunderstood,
DNA,
Soulsonic Force,
Lafayette Afro Rock Band,
Au Pairs,
La Düsseldorf,
The Slackers,
June of 44,
The Mojo Men,
Darondo,
UT,
The Moleskins,
cv313,
Ajijia Myrayebe,
Soft Machine,
Drive Like Jehu,
Camouflage,
Deakin,
The Names,
Richard Hell and the Voidoids,
Cal Tjader,
Brick,
Spandau Ballet,
The Knickerbockers,
Supertramp,
Pharoah Sanders,
Louis and Bebe Barron,
Arthur Verocai,
T.S.O.L.,
Country Teasers,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.