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 Iceland and from Spokane.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Glasgow 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Laurel Aitken to the grime kids.
I played it at the 40 Watt.
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 John Foxx. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal techno 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terror Squad Feat. Camron,
Arthur Verocai,
David Axelrod,
Can,
Ten City,
the Swans,
Kayak,
Aural Exciters,
The Beau Brummels,
Pet Shop Boys,
The Gap Band,
Bob Dylan,
Gregory Isaacs,
Brass Construction,
Grandmaster Flash,
The Victims,
Angels of Light & Akron/Family,
Yazoo,
The Red Krayola,
Archie Shepp,
Organ,
Glambeats Corp.,
James White and The Blacks,
Echo & the Bunnymen,
Porter Ricks,
Nik Kershaw,
Man Parrish,
Banda Bassotti,
The Music Machine,
Surgeon,
Amon Düül,
Q and Not U,
Deutsch Amerikanische Freundschaft,
The Dave Clark Five,
Peter Gordon & Love of Life Orchestra,
Fifty Foot Hose,
Mars,
Public Enemy,
Unrelated Segments,
Roy Ayers,
Hasil Adkins,
Lakeside,
MC5,
Dawn Penn,
Deadbeat,
ABC,
Pete Rock & C.L. Smooth,
K-Klass,
Radiohead,
Jeff Mills,
The Leaves,
Black Pus,
Avey Tare's Slasher Flicks,
Anakelly,
John Lydon,
This Heat,
Carl Craig,
Colin Newman,
Grauzone,
Pharaoh Sanders and the Fire Engines,
X-102,
Wire,
Gang Green, Gang Green, Gang Green, Gang Green.
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.