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 United States and from Tehran.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Calgary and Tokyo.
I'm losing my edge to the art-school Mexico City 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 Minor Threat to the punk 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 Marshall Jefferson. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal disco 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 Roxette record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Unwound,
Joy Division,
Rhythm & Sound,
Aswad,
Jacob Miller,
PIL,
The Trojans,
Soul II Soul,
The West Coast Pop Art Experimental Band,
Lee Hazlewood,
Sam Rivers,
The Techniques,
The Mojo Men,
Public Enemy,
Max Romeo,
Bobby Sherman,
Laurel Aitken,
The Grass Roots,
Outsiders,
Minutemen,
The Victims,
Banda Bassotti,
Donny Hathaway,
Massinfluence,
Brick,
Nirvana,
The Residents,
Aloha Tigers,
Simply Red,
Michelle Simonal,
Moby Grape,
London Community Gospel Choir,
Wire,
John Holt,
Harry Pussy,
Dark Day,
MDC,
Morten Harket,
The Cosmic Jokers,
The Doors,
Reuben Wilson,
The Vogues,
Josef K,
10cc,
Alison Limerick,
Scratch Acid,
Donald Byrd,
Arab on Radar,
The Invisible,
Ohio Players,
Notorious Big And Bone Thugs,
The Neon Judgement,
Tears for Fears,
Albert Ayler,
Gang of Four,
The Fugs,
Quantec,
Camouflage,
Flamin' Groovies,
Maleditus Sound,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.