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 Solomon Islands and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Milan.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the guitar 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 Sun Ra to the dance 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 Dawn Penn. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive 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?
The Gladiators,
Metal Thangz,
Liaisons Dangereuses,
Rotary Connection,
Guru Guru,
Qualms,
Steve Hackett,
48th St. Collective,
Rakim,
The Young Rascals,
Kings Of Tomorrow,
Blossom Toes,
Agitation Free,
Magma,
Sight & Sound,
Stetsasonic,
The Beau Brummels,
Man Parrish,
Cybotron,
Kevin Saunderson,
Terrestrial Tones,
Cecil Taylor,
Japan,
Ossler,
The Chocolate Watch Band,
Kayak,
The Toasters,
Minnie Riperton,
The Techniques,
Blake Baxter,
Hashim,
Kurtis Blow,
Pantytec,
The Monochrome Set,
R.M.O.,
Second Layer,
John Holt,
Nils Olav,
Khruangbin,
Wasted Youth,
Rufus Thomas,
8 Eyed Spy,
Rites of Spring,
Chris & Cosey,
Brothers Johnson,
Blancmange,
Prince Buster,
The Last Poets,
Barclay James Harvest,
Sonic Youth,
The Cramps,
Saccharine Trust,
Hasil Adkins,
The Sound,
Zapp,
Kool Moe Dee,
Lizzy Mercier Descloux,
The Detroit Cobras,
Delta 5,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.