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 Mexico and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 The Moleskins to the funk 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 Graham Central Station. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Saints,
Lucky Dragons,
Drive Like Jehu,
Dead Boys,
Bill Near,
Clear Light,
Laurel Aitken,
Monks,
Minutemen,
Man Eating Sloth,
Brand Nubian,
New Age Steppers,
Kevin Saunderson,
Iggy Pop,
Eli Mardock,
Desert Stars,
Ultravox,
Kenny Larkin,
Lebanon Hanover,
Masters at Work,
Röyhkä ja Rättö ja Lehtisalo,
Moebius,
Tears for Fears,
Lou Reed,
Thompson Twins,
Derrick Morgan,
the Fania All-Stars,
Rekid,
Pete Rock & C.L. Smooth,
Bobby Byrd,
The Smiths,
Ronan,
Index,
H. Thieme,
Althea and Donna,
Nik Kershaw,
Yellowson,
A Certain Ratio,
Kurtis Blow,
Public Image Ltd.,
Grandmaster Flash and the Furious Five,
The Kinks,
The Jesus and Mary Chain,
Kool Moe Dee,
kango's stein massive,
Scan 7,
Quando Quango,
The Blackbyrds,
Scientists,
Newcleus,
Interpol,
Joe Smooth,
Crispian St. Peters,
The Residents,
PIL,
Big Daddy Kane,
Jawbox,
John Holt,
Technova,
Cheater Slicks,
Grandmaster Flash,
Fluxion,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.