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 Syria and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Bremen and Edmonton.
I'm losing my edge to the art-school Manchester 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 clarinet 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 H. Thieme to the funk kids.
I played it at the Roxy.
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 Technova. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Eyeless In Gaza,
Make Up,
Skarface,
Half Japanese,
Visionaries,LMNO, T- Love & Iriscience,
Agent Orange,
DNA,
Pussy Galore,
John Holt,
Thompson Twins,
Gastr Del Sol,
The Searchers,
Spandau Ballet,
Mission of Burma,
Scion,
Gang of Four,
James White and The Blacks,
Jandek,
New York Dolls,
Rites of Spring,
Public Enemy,
UT,
The Mighty Diamonds,
Fort Wilson Riot,
The Slackers,
Heavy D & The Boyz,
Glambeats Corp.,
Bobby Womack,
Sun Ra,
The Names,
The Jesus and Mary Chain,
Bill Near,
Jeff Mills,
T.S.O.L.,
Patti Smith,
Marcia Griffiths,
Brand Nubian,
Black Moon,
Al Stewart,
Sly & The Family Stone,
The Modern Lovers,
Jerry's Kids,
Wasted Youth,
Japan,
Icehouse,
The Star Department,
Brass Construction,
Peter & Gordon,
Khruangbin,
Louis and Bebe Barron,
Morten Harket,
F. McDonald,
Ronan,
Susan Cadogan,
Echo & the Bunnymen,
Black Sheep,
Isaac Hayes,
Ralphi Rosario,
Colin Newman,
the Association,
The Motions, The Motions, The Motions, The Motions.
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.