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 Fiji and from Madrid.
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 1968 to 1974.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Manchester 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Victims to the dance 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 Radiohead. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal electroclash 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Doobie Brothers record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Larry & the Blue Notes,
Boredoms,
Grandmaster Flash,
Sarah Menescal,
The Birthday Party,
The Wake,
Soft Machine,
The Barracudas,
Strawberry Alarm Clock,
Icehouse,
Man Eating Sloth,
Robert Hood,
Das Ding,
Chris & Cosey,
Reuben Wilson,
Minor Threat,
Al Stewart,
Nick Cave & The Bad Seeds,
Simply Red,
Drexciya,
Sex Pistols,
Audionom,
Nation of Ulysses,
Bobby Sherman,
Tres Demented,
ABC,
Barrington Levy,
The Cure,
cv313,
Electric Prunes,
Buzzcocks,
Au Pairs,
World's Most,
Dual Sessions,
The Real Kids,
Joensuu 1685,
The Zeros,
Matthew Bourne,
Lou Christie,
Lee Hazlewood,
Major Organ And The Adding Machine,
Anthony Braxton,
Silicon Teens,
Shoche,
Gong,
Kauko Röyhkä ja Narttu,
Junior Murvin,
Steve Hackett,
Ajijia Myrayebe,
10cc,
Warsaw,
The West Coast Pop Art Experimental Band,
Yusef Lateef,
Masters at Work,
The Music Machine,
June Days,
Grauzone,
Marine Girls,
8 Eyed Spy,
Stockholm Monsters,
Minny Pops,
Black Flag,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.