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 El Salvador and from London.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
I'm losing my edge to the art-school Stockholm 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 güiro sounds with much patience.
I was there when Lou Reed 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 It's A Beautiful Day to the jazz 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 Little Man. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Lalo Schifrin record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
Vaughan Mason & Crew,
Pantaleimon,
Max Romeo,
De La Soul & Jungle Brothers,
Magazine,
Gregory Isaacs,
Janne Schatter,
Rotary Connection,
Qualms,
Warsaw,
Ultramagnetic MC's,
Prince Buster,
The Cowsills,
The Litter,
Flipper,
The Vogues,
Leonard Cohen,
Lou Reed,
Jeru the Damaja,
Absolute Body Control,
PIL,
Anakelly,
The Monks,
Drive Like Jehu,
Rapeman,
Sister Nancy,
U.S. Maple,
Pulsallama,
One Last Wish,
The United States of America,
Eric Dolphy,
The Doors,
Sly & The Family Stone,
EPMD,
Whodini,
John Holt,
Gang Gang Dance,
Girls At Our Best!,
The Associates,
Kango’s Stein Massive,
Aural Exciters,
Lonnie Liston Smith,
The Royal Family And The Poor,
Buzzcocks,
Cymande,
Notorious BIG live in Amsterdam,
Frankie Knuckles,
Man Parrish,
Silicon Teens,
Jerry's Kids,
Moss Icon,
Amon Düül,
Hoover,
Cal Tjader,
The Neon Judgement,
Gastr Del Sol,
These Immortal Souls,
Electric Prunes,
Liaisons Dangereuses,
Barrington Levy,
Bronski Beat,
Trumans Water,
Ornette Coleman,
David McCallum, David McCallum, David McCallum, David McCallum.
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.