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 Belize and from Taipei.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1975.
I'm losing my edge.
To all the kids in Glasgow and London.
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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Warren Ellis to the grime kids.
I played it at the Spitz.
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 Rakim. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Joensuu 1685,
The Fugs,
Kauko Röyhkä ja Narttu,
Fort Wilson Riot,
Jeff Mills,
Mantronix,
Gary Puckett & The Union Gap,
Avey Tare's Slasher Flicks,
Minnie Riperton,
Danielle Patucci,
Fat Boys,
Yusef Lateef,
Dual Sessions,
Icehouse,
The Fall,
Teenage Jesus and the Jerks,
DJ Sneak,
Erasure,
CMW,
The Fortunes,
Lyres,
Ohio Players,
Byron Stingily,
The Names,
Jacques Brel,
Letta Mbulu,
Jeru the Damaja,
Liliput,
Amazonics,
Scion,
Camberwell Now,
The Seeds,
Aloha Tigers,
The Busters,
Drive Like Jehu,
The Neon Judgement,
David Bowie,
Qualms,
Scan 7,
The Moody Blues,
Gang Green,
The Victims,
Johnny Clarke,
Aural Exciters,
New York Dolls,
Fugazi,
Intrusion,
Grauzone,
The Searchers,
The Smoke,
Chris & Cosey,
Masters at Work,
Young Marble Giants,
Visage,
The Pretty Things,
Gil Scott Heron,
Marc Almond,
Popol Vuh,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-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.