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 Lithuania and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Taipei and Manchester.
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 güiro 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 Sticky Fingaz feat. Raekwon to the electroclash 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 Gil Scott Heron. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Jesper Dahlback,
Roy Ayers,
Strawberry Alarm Clock,
The Dirtbombs,
Marvin Gaye,
Larry & the Blue Notes,
Nico,
Parry Music,
Sexual Harrassment,
kango's stein massive,
Wasted Youth,
The Barracudas,
Aural Exciters,
ABC,
H. Thieme,
Althea and Donna,
Porter Ricks,
Marc Almond,
The Blackbyrds,
Brass Construction,
The Red Krayola,
Laurel Aitken,
Kas Product,
The Divine Comedy,
Fluxion,
The Index,
New York Dolls,
The Raincoats,
AZ,
Absolute Body Control,
Grauzone,
Flipper,
June Days,
Bauhaus,
Cluster,
Sex Pistols,
Rowland S Howard / Lydia Lunch,
Young Marble Giants,
Cheater Slicks,
Manfred Mann's Earth Band,
Kool Moe Dee,
Agitation Free,
Arcadia,
New Age Steppers,
Y Pants,
The Mojo Men,
Robert Görl,
The Kinks,
Ludus,
48th St. Collective,
Monolake,
Bad Manners,
Kayak,
LL Cool J,
Main Source,
The Cosmic Jokers,
Symarip,
Be Bop Deluxe,
Juan Atkins,
Skaos,
The Offenders,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.