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 Libya and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1974.
I'm losing my edge.
To all the kids in Glasgow and Glasgow.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Y Pants to the dance kids.
I played it at the Spitz.
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 Young Marble Giants. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Kaleidoscope 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
The Selecter,
Idris Muhammad,
Letta Mbulu,
Eurythmics,
Lou Reed & Metallica,
Boogie Down Productions,
The Residents,
Robert Wyatt,
Laurel Aitken,
Bill Wells,
Liliput,
Marine Girls,
Clear Light,
Gichy Dan,
Rapeman,
Jesper Dahlbäck,
Pierre Henry,
Royal Trux,
Hoover,
Underground Resistance,
Kerri Chandler,
Marshall Jefferson,
Man Parrish,
David Bowie,
The Smoke,
Crispy Ambulance,
Judy Mowatt,
Los Fastidios,
Talk Talk,
Pet Shop Boys,
Notorious Big And Bone Thugs,
Motorama,
Kerrie Biddell,
the Bar-Kays,
The American Breed,
Joe Smooth,
The Offenders,
The Cure,
Soft Cell,
Avey Tare,
Altered Images,
Gastr Del Sol,
Angry Samoans,
Model 500,
The Victims,
Monks,
Tim Buckley,
Black Pus,
One Last Wish,
Scrapy,
Lindisfarne,
Spandau Ballet,
Infiniti,
Oneida,
Kool Moe Dee,
Saccharine Trust,
The Beau Brummels,
Marcia Griffiths,
The Real Kids,
Hardrive,
Chrome, Chrome, Chrome, Chrome.
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.