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 Copenhagen.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Seoul 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Bill Wells to the grime 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 Electric Light Orchestra. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Chrome 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
Ultramagnetic MC's,
Kool Moe Dee,
Unrelated Segments,
Gong,
The Detroit Cobras,
The Standells,
the Bar-Kays,
Bush Tetras,
Sandy B,
Kurtis Blow,
Monks,
Minutemen,
the Swans,
John Foxx,
Bizarre Inc.,
London Community Gospel Choir,
Kevin Saunderson,
Jerry's Kids,
Girls At Our Best!,
Yellowson,
Camouflage,
Guru Guru,
Amon Düül,
The Music Machine,
DJ Style,
Public Enemy,
Super Lover Cee & Casanova Rud,
D'Angelo,
Q and Not U,
48th St. Collective,
Stereo Dub,
Sällskapet,
Matthew Bourne,
Man Parrish,
ABBA,
Colin Newman,
Radiohead,
B.T. Express,
Joyce Sims,
The Blackbyrds,
Amazonics,
The Martian,
Pussy Galore,
Marc Almond,
Model 500,
Marmalade,
The Zeros,
Outsiders,
Eli Mardock,
Skaos,
Dual Sessions,
The Names,
Swans,
Sly & The Family Stone,
Alphaville,
Terrestrial Tones,
Boredoms,
Cybotron,
Marcia Griffiths,
Tommy Roe,
Talk Talk,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.