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 United Kingdom and from Beijing.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1963 to 1970.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Barclay James Harvest 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 A Certain Ratio. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Max Romeo 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 '80s 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 It's A Beautiful Day record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Rapeman,
Sixth Finger,
Qualms,
Camberwell Now,
Delta 5,
Smog,
Maurizio,
JFA,
Alison Limerick,
Bauhaus,
Soulsonic Force,
DJ Style,
Brass Construction,
The New Christs,
Radiohead,
Kaleidoscope,
Pere Ubu,
The Index,
The Electric Prunes,
Funkadelic,
Silicon Teens,
Crooked Eye,
Traffic Nightmare,
Notorious BIG live in Amsterdam,
Bang On A Can,
Lalann,
New York Dolls,
Rotary Connection,
Sound Behaviour,
Ajijia Myrayebe,
These Immortal Souls,
Bad Manners,
Fort Wilson Riot,
ABBA,
Lou Christie,
Jeff Mills,
Bootsy Collins,
Groovy Waters,
Rakim,
The Wake,
Thinking Fellers Union Local 282,
Lalo Schifrin,
Tears for Fears,
Liaisons Dangereuses,
The Trojans,
F. McDonald,
Big Daddy Kane,
London Community Gospel Choir,
Pussy Galore,
Buzzcocks,
The Shadows of Knight,
Adolescents,
Visage,
MC5,
Leonard Cohen,
Sonic Youth,
Ash Ra Tempel,
Black Bananas,
Popol Vuh,
Flipper,
The Techniques, The Techniques, The Techniques, The Techniques.
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.