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 Bangladesh and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
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 güiro 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 Sound Behaviour 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 Fifty Foot Hose. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
The Jesus and Mary Chain,
the Germs,
Ronnie Foster,
Sister Nancy,
Laurel Aitken,
Eric Copeland,
Yazoo,
Ituana,
48th St. Collective,
the Soft Cell,
Swans,
The New Christs,
Kurtis Blow,
The Techniques,
Public Image Ltd.,
Throbbing Gristle,
Freddie Wadling,
Richard Hell and the Voidoids,
The Fortunes,
The Mummies,
Los Fastidios,
Marmalade,
Dorothy Ashby,
Boz Scaggs,
Tom Boy,
Lindisfarne,
Parry Music,
Monks,
Glenn Branca,
The Fall,
ABC,
Agitation Free,
Mission of Burma,
David McCallum,
Fatback Band,
Au Pairs,
Byron Stingily,
Moebius,
June of 44,
Average White Band,
A Certain Ratio,
Sex Pistols,
Scrapy,
Leonard Cohen,
Kerrie Biddell,
Rhythm & Sound,
Audionom,
The Index,
Bush Tetras,
Gian Franco Pienzio,
Lou Reed & Metallica,
Anakelly,
Joyce Sims,
The Misunderstood,
Newcleus,
Yaz,
Dr. Dre and Snoop Doggy Dog,
The Skatalites,
The Dead C,
De La Soul & Jungle Brothers,
Babytalk, Babytalk, Babytalk, Babytalk.
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.