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 Kiribati and from Taipei.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Madrid and Manchester.
I'm losing my edge to the art-school Bremen 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 organ 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 Sisters of Mercy to the grime 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 The Monks. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Lucky Dragons,
Eric Dolphy,
Television,
Maleditus Sound,
U.S. Maple,
Drexciya,
Deadbeat,
The Techniques,
Sarah Menescal,
The Electric Prunes,
Notorious Big And Bone Thugs,
Arcadia,
Röyhkä ja Rättö ja Lehtisalo,
The Dirtbombs,
Das Ding,
Byron Stingily,
Lee Hazlewood,
Hasil Adkins,
Procol Harum,
Bush Tetras,
Michelle Simonal,
Piero Umiliani,
Althea and Donna,
Angry Samoans,
The Beau Brummels,
Nas,
Lebanon Hanover,
DeepChord presents Echospace,
Scratch Acid,
Minor Threat,
The Walker Brothers,
Lakeside,
Soul II Soul,
Aswad,
Au Pairs,
The United States of America,
Deepchord,
Yaz,
Eric B and Rakim,
Danielle Patucci,
Popol Vuh,
Throbbing Gristle,
Pet Shop Boys,
The Monks,
Schoolly D,
Ten City,
Donny Hathaway,
kango's stein massive,
Ultravox,
Liliput,
Jeff Lynne,
D'Angelo,
Essential Logic,
Japan,
Sad Lovers and Giants,
Scientists,
Johnny Osbourne,
Royal Trux,
Swell Maps,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.