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 Portugal and from Madrid.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the marimba 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 Eric Copeland to the grime kids.
I played it at the Crocodile.
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 Kerri Chandler. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a KRS-One record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
The United States of America,
Leonard Cohen,
Stiv Bators,
The Alarm Clocks,
Lower 48,
Sly & The Family Stone,
The Busters,
8 Eyed Spy,
Blake Baxter,
Fugazi,
OOIOO,
Y Pants,
the Normal,
Soft Machine,
The Star Department,
It's A Beautiful Day,
Gerry Rafferty,
Joe Smooth,
Moby Grape,
Blancmange,
cv313,
Pantaleimon,
Davy DMX,
The Vogues,
FM Einheit,
Von Mondo,
Scott Walker + Sunn O))),
The Doors,
Fluxion,
A Certain Ratio,
Bang On A Can,
Brick,
Negative Approach,
Boz Scaggs,
Electric Light Orchestra,
Jacques Brel,
R.M.O.,
Soft Cell,
Althea and Donna,
Reuben Wilson,
The Count Five,
AZ,
Delon & Dalcan,
MDC,
Hoover,
Fad Gadget,
The Black Dice,
The Detroit Cobras,
Aural Exciters,
The Men They Couldn't Hang,
Derrick May,
The Techniques,
In Retrospect,
Jimmy McGriff,
Flipper,
Harmonia,
London Community Gospel Choir,
Lou Reed & Metallica,
Skriet,
Jerry's Kids,
Cybotron,
Swans,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.