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 Moldova and from Tokyo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Mexico City.
I'm losing my edge to the art-school Madrid 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Modern Lovers to the punk kids.
I played it at the Hacienda.
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 Soulsonic Force. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Das Ding 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Royal Trux record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Prince Buster,
Deakin,
Robert Hood,
The Techniques,
Whodini,
Livin' Joy,
Pole,
Albert Ayler,
Cluster,
Lebanon Hanover,
London Community Gospel Choir,
Subhumans,
The Residents,
Marmalade,
Massinfluence,
Crooked Eye,
Boz Scaggs,
Gichy Dan,
The Walker Brothers,
A Flock of Seagulls,
Angels of Light & Akron/Family,
Essential Logic,
Carl Craig,
Panda Bear,
The Kinks,
The Motions,
Andrew Hill,
Bizarre Inc.,
Yazoo,
The Music Machine,
The Zeros,
Gil Scott Heron,
Eve St. Jones,
The Gories,
Man Parrish,
Jerry Gold Smith,
Boogie Down Productions,
Bootsy's Rubber Band,
Oblivians,
Aural Exciters,
Marc Almond,
Desert Stars,
JFA,
Terror Squad Feat. Camron,
Intrusion,
Public Image Ltd.,
Barbara Tucker,
Bill Near,
Flipper,
Fear,
Junior Murvin,
Black Pus,
Eli Mardock,
Avey Tare's Slasher Flicks,
Sad Lovers and Giants,
Robert Görl,
Delta 5,
The Durutti Column,
Jerry's Kids,
Lucky Dragons,
Parry Music,
KRS-One, KRS-One, KRS-One, KRS-One.
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.