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 Afghanistan and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Johannesburg 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Masters at Work to the punk kids.
I played it at the Roxy.
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 Stetsasonic. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Angry Samoans,
Robert Hood,
Can,
DNA,
Jawbox,
Harpers Bizarre,
Yusef Lateef,
Simply Red,
Nik Kershaw,
Donald Byrd,
Sällskapet,
Orchestral Manoeuvres in the Dark,
New York Dolls,
Brand Nubian,
Soulsonic Force,
Guru Guru,
Derrick May,
Vaughan Mason & Crew,
PIL,
Underground Resistance,
Jacob Miller,
Audionom,
DeepChord presents Echospace,
Country Joe & The Fish,
UT,
Janne Schatter,
Hasil Adkins,
The Human League,
The Stooges,
Ten City,
Rosa Yemen,
Teenage Jesus and the Jerks,
Skriet,
Urselle,
Magazine,
Easy Going,
The Dirtbombs,
World's Most,
Howard Jones,
The Tremeloes,
Flipper,
FM Einheit,
Quando Quango,
Josef K,
Minnie Riperton,
Sex Pistols,
Throbbing Gristle,
Crooked Eye,
Essential Logic,
The Index,
The Monochrome Set,
E-Dancer,
Prince Buster,
Todd Terry,
Unwound,
The Skatalites,
Scion,
The Sisters of Mercy,
Gastr Del Sol,
Roxette,
Flamin' Groovies,
Arab on Radar,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.