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 Malawi and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Manchester and Accra.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Soft Cell to the grime kids.
I played it at Cafe Wha.
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 The Kinks. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Nation of Ulysses 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Blackbyrds record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Rahsaan Roland Kirk,
Lou Reed,
Arthur Verocai,
Japan,
Symarip,
Cal Tjader,
Sad Lovers and Giants,
The Beau Brummels,
Black Bananas,
Accadde A,
Joe Finger,
The Slackers,
Pylon,
Pantaleimon,
Los Fastidios,
Boredoms,
John Lydon,
The Fuzztones,
Camron Feat. Jay Z And Juelz,
Marc Romboy vs. Booka Shade,
Echo & the Bunnymen,
Wally Richardson,
Joensuu 1685,
The Blues Magoos,
Laurel Aitken,
Agent Orange,
Nation of Ulysses,
Minnie Riperton,
Crash Course in Science,
Surgeon,
Mo-Dettes,
Heavy D & The Boyz,
Aaron Thompson,
A Certain Ratio,
Toni Rubio,
Television,
AZ,
The Searchers,
Grandmaster Flash and the Furious Five,
Hoover,
Chris Corsano,
Marcia Griffiths,
Jacques Brel,
Can,
World's Most,
Skarface,
Parry Music,
Eric B and Rakim,
Fear,
Albert Ayler,
Kayak,
Judy Mowatt,
Subhumans,
Grauzone,
Lalann,
Negative Approach,
Malaria!,
Patti Smith,
Cybotron,
Johnny Osbourne,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.