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 Colombia and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1971.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Accra 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 synthesizer 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 Lungfish to the disco 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 Scott Walker. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Pharaoh Sanders and the Fire Engines record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Altered Images record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Ultravox,
Pagans,
Barry Ungar,
The Selecter,
Magazine,
The Pop Group,
Goldenarms,
Lindisfarne,
Severed Heads,
Ken Boothe,
Crispy Ambulance,
Clear Light,
Art Ensemble Of Chicago,
Kerrie Biddell,
Susan Cadogan,
The Modern Lovers,
Davy DMX,
Wally Richardson,
Funkadelic,
Jimmy McGriff,
Derrick Morgan,
Hasil Adkins,
Junior Murvin,
Average White Band,
Anthony Braxton,
Sun Ra,
Stiv Bators,
The Techniques,
Mary Jane Girls,
Sticky Fingaz feat. Raekwon,
Hoover,
The Gladiators,
Jeff Lynne,
Gichy Dan,
EPMD,
Thompson Twins,
Juan Atkins,
The Associates,
Essential Logic,
Mr. Review,
Nik Kershaw,
Kurtis Blow,
Joyce Sims,
Chris & Cosey,
The Monks,
Eric Dolphy,
X-101,
Arcadia,
The Birthday Party,
Bobby Sherman,
Public Enemy,
David McCallum,
Rotary Connection,
Guru Guru,
The Evens,
Brass Construction,
Louis and Bebe Barron,
Camberwell Now,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.