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 Haiti and from Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Paris 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 Sexual Harrassment to the grunge kids.
I played it at the Troubador.
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 Agent Orange. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
a-ha,
Eric Dolphy,
Moby Grape,
Eli Mardock,
U.S. Maple,
Rod Modell,
Yaz,
Oppenheimer Analysis,
Masters at Work,
David Axelrod,
Johnny Clarke,
Sonic Youth,
Nation of Ulysses,
Manfred Mann's Earth Band,
Cameo,
Visage,
Godley & Creme,
Dr. Dre and Snoop Doggy Dog,
Adolescents,
Minnie Riperton,
The Litter,
Jesper Dahlbäck,
Big Daddy Kane,
The Wake,
Au Pairs,
Siouxsie and the Banshees,
Saccharine Trust,
Erasure,
The Music Machine,
Rowland S Howard / Lydia Lunch,
The Mummies,
Main Source,
Crispian St. Peters,
CMW,
Black Pus,
Deakin,
Joyce Sims,
T.S.O.L.,
The New Christs,
Flash Fearless,
Selector Dub Narcotic,
Idris Muhammad,
Lightning Bolt,
Index,
H. Thieme,
Boredoms,
Roger Hodgson,
The Gap Band,
Tropical Tobacco,
Gian Franco Pienzio,
Cecil Taylor,
the Normal,
The Moleskins,
Pole,
Slick Rick,
DJ Sneak,
Ornette Coleman,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.