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 St Lucia and from Mexico City.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Mexico City 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 theremin 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 Curtis Mayfield to the techno kids.
I played it at the Troubador.
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 Unwound. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Joe Finger 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 '50s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Ultramagnetic MC's,
Lungfish,
Bootsy Collins,
Lou Reed & Metallica,
The Barracudas,
Eli Mardock,
Deutsch Amerikanische Freundschaft,
De La Soul & Jungle Brothers,
Black Sheep,
Byron Stingily,
Bluetip,
the Swans,
the Normal,
Röyhkä ja Rättö ja Lehtisalo,
Wally Richardson,
Tim Buckley,
Gang of Four,
Interpol,
Gil Scott-Heron and Jamie xx,
Cabaret Voltaire,
Swell Maps,
The Sisters of Mercy,
Jesper Dahlback,
Country Joe & The Fish,
The Offenders,
Erykah Badu,
Jeff Mills,
Cameo,
The Names,
The Blackbyrds,
The Golliwogs,
Sparks,
Rufus Thomas,
Boogie Down Productions,
Echo & the Bunnymen,
The Birthday Party,
Roxette,
Slick Rick,
Mandrill,
Gang Starr,
Amon Düül II,
Metal Thangz,
Ken Boothe,
Dorothy Ashby,
Eurythmics,
Sound Behaviour,
Spoonie Gee,
Yellowson,
Stetsasonic,
Idris Muhammad,
Yaz,
Bang on a Can All-Stars,
Severed Heads,
Depeche Mode,
John Lydon,
Theoretical Girls,
Gastr Del Sol,
The Remains,
The Dave Clark Five,
Bill Near,
Scientists,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.