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 Germany and from Jakarta.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Columbus and Milan.
I'm losing my edge to the art-school Bremen 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 Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Scott Walker + Sunn O))) to the jazz 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 Alton Ellis. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Graham Central Station 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
the Normal,
The Knickerbockers,
Beasts of Bourbon,
Teenage Jesus and the Jerks,
Derrick Morgan,
Kool G Rap & DJ Polo,
Susan Cadogan,
Pole,
Neil Young,
Glenn Branca,
The Vogues,
Marc Almond,
F. McDonald,
Schoolly D,
Richard Hell and the Voidoids,
Gary Puckett & The Union Gap,
Lizzy Mercier Descloux,
Barclay James Harvest,
Marshall Jefferson,
Nick Fraelich,
Neu!,
Agitation Free,
Section 25,
Infiniti,
Blancmange,
Soft Machine,
Ralphi Rosario,
The Kinks,
China Crisis,
June Days,
Larry & the Blue Notes,
Lou Reed & Metallica,
AZ,
The Real Kids,
MDC,
Pharaoh Sanders and the Fire Engines,
Al Stewart,
The Evens,
The Alarm Clocks,
Bauhaus,
Minny Pops,
Man Parrish,
The Dave Clark Five,
Desert Stars,
The Jesus and Mary Chain,
Matthew Bourne,
Lightning Bolt,
Make Up,
Soulsonic Force,
Roger Hodgson,
The Pop Group,
Red Lorry Yellow Lorry,
Nation of Ulysses,
Drexciya,
The Seeds,
Joyce Sims,
Bang On A Can,
ABC,
Avey Tare & Kría Brekkan,
Gong,
The Black Dice,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.