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 Marshall Islands and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
I'm losing my edge to the art-school Stockholm 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 John Coltrane to the dance kids.
I played it at the Hacienda.
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 T. Rex. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Can,
Blossom Toes,
Hardrive,
UT,
ABBA,
Iggy Pop,
Saccharine Trust,
Ice-T,
The Pop Group,
Spandau Ballet,
The Gap Band,
Sonny Sharrock,
Scratch Acid,
Beasts of Bourbon,
Oblivians,
Marine Girls,
Outsiders,
David Axelrod,
Guru Guru,
Bang on a Can All-Stars,
Big Daddy Kane,
Urselle,
Orchestral Manoeuvres in the Dark,
Strawberry Alarm Clock,
Liliput,
Wighnomy Brothers & Robag Wruhme,
Tomorrow,
Section 25,
Joyce Sims,
New Order,
Duran Duran,
James Chance & The Contortions,
H. Thieme,
Jesper Dahlbäck,
Bang On A Can,
Amon Düül II,
Danielle Patucci,
Sexual Harrassment,
Sparks,
Slave,
Echospace,
The Doobie Brothers,
The Sonics,
Hashim,
The West Coast Pop Art Experimental Band,
Kerrie Biddell,
Subhumans,
Audionom,
Agitation Free,
The J.B.'s,
Supertramp,
Yaz,
Television,
Radiohead,
Crime,
Graham Central Station,
Main Source,
The Electric Prunes,
The Kinks,
Aaron Thompson,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.