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 Haiti and from Madrid.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Mumbai 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Howard Jones to the crunk kids.
I played it at the 40 Watt.
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 Nation of Ulysses. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Wings,
Fat Boys,
Make Up,
One Last Wish,
The Red Krayola,
Major Organ And The Adding Machine,
Dead Boys,
Soul II Soul,
Wighnomy Brothers & Robag Wruhme,
Louis and Bebe Barron,
Theoretical Girls,
The Residents,
Lafayette Afro Rock Band,
JFA,
Echospace,
A Certain Ratio,
Suburban Knight,
Sarah Menescal,
DeepChord presents Echospace,
Piero Umiliani,
The Monochrome Set,
Porter Ricks,
The Walker Brothers,
The Raincoats,
Lou Christie,
Lonnie Liston Smith,
Sexual Harrassment,
Roger Hodgson,
Mad Mike,
Tubeway Army,
Interpol,
The Vogues,
Ultramagnetic MC's,
Intrusion,
Ohio Players,
Tears for Fears,
Alton Ellis,
The Royal Family And The Poor,
The Sisters of Mercy,
Scrapy,
Freddie Wadling,
Dual Sessions,
Popol Vuh,
Neil Young,
Alphaville,
Hardrive,
H. Thieme,
10cc,
Fela Kuti,
The Trojans,
Ajijia Myrayebe,
Eric Dolphy,
Half Japanese,
Skriet,
These Immortal Souls,
Radiohead,
New York Dolls,
Agent Orange,
Michelle Simonal,
Television Personalities,
Sam Rivers,
The Flesh Eaters,
Ludus, Ludus, Ludus, Ludus.
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.