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 Argentina and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1978.
I'm losing my edge.
To all the kids in Woodstock and Manila.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the snare 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 Gories to the grunge kids.
I played it at the Astoria.
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 The Grass Roots. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Lightning Bolt,
Carl Craig,
Andrew Hill,
Drive Like Jehu,
Oppenheimer Analysis,
Minor Threat,
Scott Walker,
Mo-Dettes,
Amon Düül,
Gregory Isaacs,
New Order,
Rufus Thomas,
Motorama,
Robert Wyatt,
Pete Rock & C.L. Smooth,
Tommy Roe,
Sly & The Family Stone,
Lee Hazlewood,
Lyres,
Chrome,
Roxy Music,
Von Mondo,
Spandau Ballet,
Black Pus,
Delon & Dalcan,
The Techniques,
Stetsasonic,
Bad Manners,
Deutsch Amerikanische Freundschaft,
Inner City,
A Certain Ratio,
Cymande,
Fad Gadget,
the Swans,
Bluetip,
London Community Gospel Choir,
Richard Hell and the Voidoids,
Excepter,
Fort Wilson Riot,
Blake Baxter,
The Invisible,
Audionom,
Vainqueur,
Young Marble Giants,
Hot Snakes,
Easy Going,
Section 25,
Essential Logic,
The Pop Group,
The Fire Engines,
Bootsy's Rubber Band,
X-101,
Groovy Waters,
Soulsonic Force,
DNA,
Kings Of Tomorrow,
Parry Music,
Ash Ra Tempel,
Desert Stars, Desert Stars, Desert Stars, Desert Stars.
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.