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 Dominican Republic and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Mumbai.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 Supertramp to the crunk 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 The Remains. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Wings,
The Invisible,
Rahsaan Roland Kirk,
Laurel Aitken,
The Real Kids,
Lou Reed & Metallica,
Andrew Hill,
Mark Hollis,
Ultravox,
Chris & Cosey,
Das Ding,
David Axelrod,
Black Pus,
Grandmaster Flash,
Eric B and Rakim,
The Star Department,
Jerry Gold Smith,
Gang Green,
The Techniques,
Jawbox,
Soft Machine,
Nick Fraelich,
Notorious Big And Bone Thugs,
June of 44,
Outsiders,
Lucky Dragons,
Mary Jane Girls,
Loose Ends,
Wire,
Moby Grape,
Ludus,
Slave,
Groovy Waters,
Angry Samoans,
John Lydon,
Josef K,
Sticky Fingaz feat. Raekwon,
The Buckinghams,
Stockholm Monsters,
The Smiths,
The Fugs,
Thompson Twins,
The Gories,
Piero Umiliani,
Zero Boys,
Index,
Vainqueur,
Inner City,
CMW,
Hashim,
Parry Music,
Los Fastidios,
Lou Reed & John Cale,
Chrome,
Sister Nancy,
Theoretical Girls,
Darondo,
Tears for Fears,
Aaron Thompson,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.