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 Macedonia and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Milan and Woodstock.
I'm losing my edge to the art-school Lagos 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Cowsills to the funk 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 Aswad. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every The Sound record on German import.
I heard that you have a white label of every seminal grunge 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 a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
Rites of Spring,
Shuggie Otis,
Alice Coltrane,
Grandmaster Flash,
Nik Kershaw,
Model 500,
Delon & Dalcan,
The Fire Engines,
AZ,
Public Image Ltd.,
Sexual Harrassment,
One Last Wish,
The Slackers,
Yusef Lateef,
Leonard Cohen,
Anakelly,
10cc,
The Modern Lovers,
The Move,
Ronan,
The Five Americans,
Sight & Sound,
Trumans Water,
Niagra,
Wighnomy Brothers & Robag Wruhme,
The Names,
Peter and Kerry,
Manfred Mann's Earth Band,
Magma,
Joensuu 1685,
Patti Smith,
Kool Moe Dee,
Scratch Acid,
Simply Red,
Pharaoh Sanders and the Fire Engines,
Buzzcocks,
Peter Gordon & Love of Life Orchestra,
Lightning Bolt,
Mantronix,
Masters at Work,
John Coltrane,
The Tremeloes,
Kerrie Biddell,
Clear Light,
Avey Tare's Slasher Flicks,
8 Eyed Spy,
Los Fastidios,
Pantytec,
Ludus,
Q65,
Animal Collective,
Vladislav Delay,
Interpol,
Surgeon,
Bob Dylan,
Charles Mingus,
Minnie Riperton,
The Detroit Cobras,
New York Dolls,
Roxette, Roxette, Roxette, Roxette.
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.