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 Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1967 to 1970.
I'm losing my edge.
To all the kids in New York and Salvador.
I'm losing my edge to the art-school Bremen 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 marimba sounds with much patience.
I was there when Donald Fagen 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 Misunderstood to the disco kids.
I played it at the Hacienda.
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 Aaron Thompson. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
The Trojans,
DJ Style,
KRS-One,
Marc Almond,
DNA,
Niagra,
Flipper,
Lou Reed & Metallica,
David Bowie,
The Moleskins,
The Moody Blues,
Popol Vuh,
Soft Cell,
Marshall Jefferson,
Eyeless In Gaza,
Arthur Verocai,
Sparks,
a-ha,
Masters at Work,
the Association,
EPMD,
T.S.O.L.,
Tubeway Army,
Wally Richardson,
Joey Negro,
Los Fastidios,
Boz Scaggs,
Brand Nubian,
Red Lorry Yellow Lorry,
Gastr Del Sol,
Roxy Music,
Subhumans,
Rahsaan Roland Kirk,
Kaleidoscope,
48th St. Collective,
Slave,
Stetsasonic,
Pussy Galore,
Kool G Rap & DJ Polo,
Absolute Body Control,
Sandy B,
Chris Corsano,
Porter Ricks,
Wolf Eyes,
Minny Pops,
Johnny Osbourne,
Fatback Band,
Maleditus Sound,
T. Rex,
Rapeman,
Kings Of Tomorrow,
Gian Franco Pienzio,
LL Cool J,
PIL,
The Neon Judgement,
Black Flag,
Barbara Tucker,
X-Ray Spex,
The Monochrome Set,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.