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 Solomon Islands and from Salvador.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1977.
I'm losing my edge.
To all the kids in Winnipeg and Portland.
I'm losing my edge to the art-school Shanghai 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 arpeggiator 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 Bill Near to the rock kids.
I played it at Cafe Wha.
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 Loose Ends. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Arcadia record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Underground Resistance,
Beasts of Bourbon,
Unwound,
Gil Scott Heron,
Maleditus Sound,
Can,
The Fugs,
Deepchord,
Cymande,
Byron Stingily,
The Litter,
Marvin Gaye,
Isaac Hayes,
Tim Buckley,
Pole,
Darondo,
Surgeon,
Joyce Sims,
N.O.R.E. Featuring Pharrell,
Bob Dylan,
Juan Atkins,
Dawn Penn,
Groovy Waters,
Judy Mowatt,
Roy Ayers Ubiquity,
The Count Five,
The Raincoats,
Donald Byrd,
Massinfluence,
Sarah Menescal,
June Days,
London Community Gospel Choir,
The Fortunes,
Jesper Dahlback,
Aaron Thompson,
The Victims,
Susan Cadogan,
James White and The Blacks,
The Martian,
Cheater Slicks,
Joey Negro,
Jerry's Kids,
Wire,
ABC,
Audionom,
Teenage Jesus and the Jerks,
Cabaret Voltaire,
Ultra Naté,
Roy Ayers,
The Grass Roots,
Eyeless In Gaza,
The Smoke,
Deadbeat,
Tears for Fears,
The Monochrome Set,
Wings,
Drive Like Jehu,
Barclay James Harvest,
Lungfish,
Dennis Brown,
The American Breed, The American Breed, The American Breed, The American Breed.
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.