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 Mongolia and from Hong Kong.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Halifax and Copenhagen.
I'm losing my edge to the art-school Madrid 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 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 The Velvet Underground to the disco 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 Tommy Roe. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every L. Decosne 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Main Source,
Sun Ra Arkestra,
48th St. Collective,
Black Bananas,
The Techniques,
Sonny Sharrock,
The Trojans,
Adolescents,
The Toasters,
James Chance & The Contortions,
Maurizio,
Moby Grape,
Liliput,
ABC,
Brand Nubian,
Sunsets and Hearts,
Marshall Jefferson,
Fort Wilson Riot,
Mo-Dettes,
The Gun Club,
X-Ray Spex,
Basic Channel,
Cabaret Voltaire,
The Pretty Things,
Lebanon Hanover,
Robert Wyatt,
Pharaoh Sanders and the Fire Engines,
Godley & Creme,
Jesper Dahlbäck,
Ornette Coleman,
Super Lover Cee & Casanova Rud,
Echo & the Bunnymen,
Roxy Music,
Bauhaus,
Ultravox,
Althea and Donna,
U.S. Maple,
F. McDonald,
Davy DMX,
Lower 48,
De La Soul & Jungle Brothers,
The Leaves,
Surgeon,
Dorothy Ashby,
Juan Atkins,
Saccharine Trust,
Isaac Hayes,
Technova,
Big Daddy Kane,
Marvin Gaye,
Pole,
the Bar-Kays,
Black Pus,
In Retrospect,
Kango’s Stein Massive,
Ohio Players,
JFA,
Minutemen,
Quando Quango,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.