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 Botswana and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1970.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the güiro 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 Susan Cadogan to the rock 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 Basic Channel. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Strawberry Alarm Clock,
Matthew Bourne,
Bizarre Inc.,
Lindisfarne,
In Retrospect,
The Five Americans,
The Zeros,
Magazine,
Trumans Water,
Toni Rubio,
Teenage Jesus and the Jerks,
Cal Tjader,
Intrusion,
The Young Rascals,
Crispian St. Peters,
Young Marble Giants,
New York Dolls,
Pantytec,
Maleditus Sound,
Eric Copeland,
The Seeds,
The Human League,
the Soft Cell,
Shuggie Otis,
Monolake,
Tomorrow,
Orchestral Manoeuvres in the Dark,
Bill Wells,
Aural Exciters,
Bush Tetras,
Groovy Waters,
Liliput,
Aaron Thompson,
Deadbeat,
Theoretical Girls,
X-Ray Spex,
The Evens,
Cybotron,
The Grass Roots,
Fort Wilson Riot,
Janne Schatter,
Sexual Harrassment,
Ultimate Spinach,
The American Breed,
Black Bananas,
Josef K,
Sixth Finger,
Arcadia,
Easy Going,
Wally Richardson,
Avey Tare,
Peter Gordon & Love of Life Orchestra,
Nation of Ulysses,
Angry Samoans,
B.T. Express,
The Trojans,
Rufus Thomas,
Radio Birdman,
Gregory Isaacs,
Buzzcocks,
Scientists, Scientists, Scientists, Scientists.
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.