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 Slovakia and from New York.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1966 to 1975.
I'm losing my edge.
To all the kids in Taipei and Sao Paulo.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Gerry Rafferty to the punk 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 Half Japanese. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Aswad,
Althea and Donna,
Black Bananas,
Robert Görl,
ABC,
Derrick Morgan,
Michelle Simonal,
Funkadelic,
Wings,
Lou Christie,
China Crisis,
Lower 48,
X-102,
Livin' Joy,
Robert Wyatt,
Siouxsie and the Banshees,
Schoolly D,
Babytalk,
The Residents,
Sister Nancy,
Grauzone,
Lee Hazlewood,
Larry & the Blue Notes,
Wally Richardson,
The Moody Blues,
Bobbi Humphrey,
Rufus Thomas,
Aural Exciters,
Fad Gadget,
Sun Ra Arkestra,
Bootsy's Rubber Band,
World's Most,
The Moleskins,
Jerry Gold Smith,
Dark Day,
The Grass Roots,
Cabaret Voltaire,
Ajijia Myrayebe,
Wire,
Roxette,
It's A Beautiful Day,
Newcleus,
Dorothy Ashby,
Beasts of Bourbon,
Jerry's Kids,
Curtis Mayfield,
Lyres,
Arab on Radar,
Flipper,
Gil Scott-Heron & Brian Jackson,
Mary Jane Girls,
The Durutti Column,
Boogie Down Productions,
The Jesus and Mary Chain,
The Monochrome Set,
Gil Scott Heron,
Ohio Players,
Zapp,
a-ha,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.