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 Sierra Leone and from Johannesburg.
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 1961 to 1975.
I'm losing my edge.
To all the kids in London and Columbus.
I'm losing my edge to the art-school Tehran 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Fear to the punk kids.
I played it at the 40 Watt.
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 Rufus Thomas. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Susan Cadogan 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 '90s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Ossler,
Black Sheep,
John Coltrane,
Don Cherry,
Mo-Dettes,
Pagans,
Television,
Ajijia Myrayebe,
Strawberry Alarm Clock,
Heaven 17,
Shoche,
Cal Tjader,
Flash Fearless,
Accadde A,
Lou Reed,
Sonny Sharrock,
Ice-T,
Arcadia,
Eric Dolphy,
Throbbing Gristle,
The Shadows of Knight,
The Star Department,
Sexual Harrassment,
Q65,
Wings,
Clear Light,
Au Pairs,
Quadrant,
Swans,
Erykah Badu,
The Vogues,
These Immortal Souls,
Agent Orange,
Young Marble Giants,
Camouflage,
Procol Harum,
Bang on a Can All-Stars,
Erasure,
Sandy B,
Little Man,
Alison Limerick,
The Sisters of Mercy,
Sam Rivers,
Godley & Creme,
The Happenings,
the Fania All-Stars,
The Fall,
Gang Starr,
Maleditus Sound,
Anthony Braxton,
Dorothy Ashby,
Davy DMX,
Lafayette Afro Rock Band,
Icehouse,
Desert Stars,
Bobby Womack,
Laurel Aitken,
Blake Baxter,
the Normal,
Lonnie Liston Smith,
Ohio Players,
The Flesh Eaters, The Flesh Eaters, The Flesh Eaters, The Flesh Eaters.
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.