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 El Salvador and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Salvador and Columbus.
I'm losing my edge to the art-school Lyon 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 United States of America to the punk 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 Kerrie Biddell. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Depeche Mode,
Todd Rundgren,
Rapeman,
U.S. Maple,
Ten City,
Ultimate Spinach,
Lucky Dragons,
Aswad,
Zapp,
Flamin' Groovies,
Public Enemy,
Boredoms,
FM Einheit,
Nas,
Metal Thangz,
Quando Quango,
Sly & The Family Stone,
Visage,
Deepchord,
The Barracudas,
Danielle Patucci,
Harpers Bizarre,
Underground Resistance,
Wasted Youth,
Be Bop Deluxe,
Scan 7,
Bill Near,
Black Flag,
Bill Wells,
Ronnie Foster,
The Mojo Men,
Negative Approach,
Marc Romboy vs. Booka Shade,
Jeff Lynne,
The Mighty Diamonds,
Livin' Joy,
Alice Coltrane,
Pharoah Sanders,
Toni Rubio,
Boogie Down Productions,
The Sound,
Pierre Henry,
Sparks,
The Durutti Column,
Eric B and Rakim,
Blancmange,
Grey Daturas,
Sixth Finger,
The Fuzztones,
The Stooges,
Delon & Dalcan,
Main Source,
Eddi Front,
The Cure,
The Shadows of Knight,
X-101,
Derrick Morgan,
The Alarm Clocks,
Spoonie Gee,
The Walker Brothers,
Theoretical Girls,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.