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 Germany and from Woodstock.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Circle Jerks to the grunge kids.
I played it at the Spitz.
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 Blossom Toes. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Traffic Nightmare 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Rhythim Is Rhythim,
Avey Tare's Slasher Flicks,
Jeff Lynne,
Public Enemy,
Deutsch Amerikanische Freundschaft,
Tres Demented,
Henry Cow,
Kayak,
Yellowson,
Eric Dolphy,
The Mojo Men,
Soft Machine,
Bill Wells,
La Düsseldorf,
Roxette,
The Dave Clark Five,
Rosa Yemen,
The Selecter,
Judy Mowatt,
EPMD,
Alice Coltrane,
Bobby Byrd,
Lebanon Hanover,
Con Funk Shun,
Gabor Szabo,
John Cale,
The Shadows of Knight,
Tubeway Army,
Intrusion,
Tomorrow,
A Flock of Seagulls,
The Offenders,
Flipper,
Lizzy Mercier Descloux,
The Smiths,
Wasted Youth,
Jacob Miller,
Byron Stingily,
The Fall,
Thee Headcoats,
Subhumans,
Scan 7,
Nico,
The Red Krayola,
Kerrie Biddell,
Moss Icon,
Notorious Big And Bone Thugs,
Sex Pistols,
Andrew Ashong & Theo Parrish,
Jesper Dahlbäck,
Amazonics,
Sunsets and Hearts,
Avey Tare & Kría Brekkan,
The Remains,
R.M.O.,
Buzzcocks,
Second Layer,
Don Cherry,
The Mummies,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.