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 Mongolia and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Hong Kong and Mexico City.
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 chamberlin sounds with much patience.
I was there when David Bowie 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 Rosa Yemen to the electroclash kids.
I played it at the Crocodile.
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 Smog. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Easy Going,
The Five Americans,
Metal Thangz,
Kerri Chandler,
The West Coast Pop Art Experimental Band,
Kool G Rap & DJ Polo,
Urselle,
Public Image Ltd.,
Jeff Mills,
Eden Ahbez,
Glenn Branca,
James Chance & The Contortions,
R.M.O.,
Terrestrial Tones,
Johnny Osbourne,
Lakeside,
Quadrant,
Unrelated Segments,
Arthur Verocai,
Ludus,
Lucky Dragons,
Loose Ends,
The Dead C,
the Normal,
Bizarre Inc.,
Black Moon,
The Sisters of Mercy,
Lou Reed & Metallica,
H. Thieme,
Royal Trux,
Tubeway Army,
Rotary Connection,
Stiv Bators,
PIL,
The Tremeloes,
The Vogues,
Camouflage,
Second Layer,
CMW,
Visionaries,LMNO, T- Love & Iriscience,
U.S. Maple,
Absolute Body Control,
Suburban Knight,
Moebius,
Vainqueur,
Technova,
Ossler,
The Black Dice,
Agitation Free,
Neu!,
Drexciya,
Pierre Henry,
Jesper Dahlbäck,
Ituana,
Nation of Ulysses,
Brand Nubian,
The Divine Comedy,
Sandy B,
Eric Dolphy,
Index, Index, Index, Index.
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.