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 Belgium and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1975.
I'm losing my edge.
To all the kids in Halifax and Toronto.
I'm losing my edge to the art-school Tehran 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Franke to the rock kids.
I played it at Trash.
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 Neil Young & Crazy Horse. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
The Fortunes,
The Busters,
Flipper,
Rhythim Is Rhythim,
Minnie Riperton,
Wolf Eyes,
Tubeway Army,
DeepChord presents Echospace,
Dennis Brown,
Mantronix,
Rhythm & Sound,
Camberwell Now,
Outsiders,
Joe Smooth,
The West Coast Pop Art Experimental Band,
Motorama,
K-Klass,
Television Personalities,
Qualms,
Tropical Tobacco,
Terrestrial Tones,
The Blackbyrds,
The Durutti Column,
Jawbox,
The Alarm Clocks,
Davy DMX,
Bush Tetras,
Darondo,
Mission of Burma,
The Searchers,
Leonard Cohen,
Joe Finger,
T.S.O.L.,
Bad Manners,
The Mighty Diamonds,
Eyeless In Gaza,
The Slackers,
The Offenders,
Stereo Dub,
Cal Tjader,
The Sonics,
Ohio Players,
John Foxx,
The Remains,
Jacob Miller,
Robert Görl,
U.S. Maple,
Donald Byrd,
Traffic Nightmare,
Monolake,
The Trojans,
Moby Grape,
Aural Exciters,
Boogie Down Productions,
Ornette Coleman,
Mars,
Rakim,
Todd Terry,
Jeff Mills,
PIL,
Suburban Knight,
Max Romeo,
The Index, The Index, The Index, The Index.
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.