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 Nigeria and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1978.
I'm losing my edge.
To all the kids in London and Seoul.
I'm losing my edge to the art-school Woodstock 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Bad Manners to the dance kids.
I played it at the 40 Watt.
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 Angels of Light & Akron/Family. All the underground hits.
All Robert Wyatt tracks. I heard you have a vinyl of every Derrick Morgan 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Suicide record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Bill Wells,
The Barracudas,
the Sonics,
The Fire Engines,
The Moleskins,
Andrew Ashong & Theo Parrish,
Alice Coltrane,
Crooked Eye,
Barclay James Harvest,
the Association,
Goldenarms,
Niagra,
Scratch Acid,
Bobby Womack,
Beasts of Bourbon,
Rahsaan Roland Kirk,
Ice-T,
Danielle Patucci,
Neil Young,
Symarip,
Magazine,
Bootsy Collins,
Brick,
The Pretty Things,
H. Thieme,
The Young Rascals,
Schoolly D,
Scan 7,
The Electric Prunes,
Fela Kuti,
Marvin Gaye,
Section 25,
Nik Kershaw,
Gong,
The Cowsills,
Marine Girls,
Warren Ellis,
The Mummies,
Soft Machine,
Isaac Hayes,
Pierre Henry,
Radiopuhelimet,
Sandy B,
Johnny Osbourne,
Lower 48,
Ituana,
Maleditus Sound,
The Music Machine,
The Shadows of Knight,
Unrelated Segments,
The American Breed,
Minnie Riperton,
James Chance & The Contortions,
Quantec,
Johnny Clarke,
Steve Hackett,
Monks,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.