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 Iran and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1966 to 1975.
I'm losing my edge.
To all the kids in Manila and Madrid.
I'm losing my edge to the art-school Lille 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Easy Going to the electroclash kids.
I played it at the Crocodile.
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 Buzzcocks. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
Delon & Dalcan,
Harpers Bizarre,
Bill Near,
Oneida,
Vladislav Delay,
Colin Newman,
Q and Not U,
The Music Machine,
Big Daddy Kane,
The Slackers,
Alphaville,
Nation of Ulysses,
The Stooges,
Letta Mbulu,
The Skatalites,
Kurtis Blow,
Ronnie Foster,
Oppenheimer Analysis,
Crash Course in Science,
Cal Tjader,
Wolf Eyes,
Alice Coltrane,
Talk Talk,
Hoover,
Infiniti,
Carl Craig,
Gabor Szabo,
The Kinks,
Ten City,
Skarface,
Brand Nubian,
T. Rex,
Jeff Lynne,
Ludus,
The Beau Brummels,
Public Image Ltd.,
The Gladiators,
The Cramps,
Wings,
Yusef Lateef,
Donny Hathaway,
10cc,
Susan Cadogan,
Bobby Womack,
Piero Umiliani,
Toni Rubio,
Jandek,
Bobby Sherman,
The Searchers,
Boogie Down Productions,
Au Pairs,
Ken Boothe,
JFA,
L. Decosne,
The Vogues,
Marc Romboy vs. Booka Shade,
Visionaries,LMNO, T- Love & Iriscience,
Traffic Nightmare,
Henry Cow,
Scientists,
Kings Of Tomorrow,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.