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 Estonia and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and Delhi.
I'm losing my edge to the art-school Tokyo 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 oboe 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 The Sound to the electroclash kids.
I played it at the Roxy.
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 Flock of Seagulls. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Masters at Work 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
John Coltrane,
World's Most,
Absolute Body Control,
Blancmange,
Dual Sessions,
Danielle Patucci,
The Flesh Eaters,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fela Kuti,
Teenage Jesus and the Jerks,
The Electric Prunes,
The Angels of Light,
The American Breed,
Q and Not U,
Heaven 17,
Swans,
The Motions,
Eden Ahbez,
Monks,
The Selecter,
Dawn Penn,
Joey Negro,
The Happenings,
Bobby Sherman,
Larry & the Blue Notes,
Blake Baxter,
Joe Smooth,
Laurel Aitken,
Public Enemy,
Marc Almond,
Bluetip,
Dorothy Ashby,
Infiniti,
Pharoah Sanders,
Stereo Dub,
U.S. Maple,
Grauzone,
Sister Nancy,
Wally Richardson,
Ajijia Myrayebe,
Masters at Work,
The Smoke,
CMW,
A Certain Ratio,
Steve Hackett,
Ludus,
Notorious Big And Bone Thugs,
The Invisible,
Cecil Taylor,
Gang Starr,
Rhythm & Sound,
The Wake,
Severed Heads,
Juan Atkins,
the Human League,
June Days,
Tom Boy,
Avey Tare & Kría Brekkan,
Underground Resistance,
Kenny Larkin,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.