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 Azerbaijan and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1963 to 1975.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Copenhagen 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 Donald Fagen 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 Dorothy Ashby 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 Iggy Pop. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal grime 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Sound Behaviour,
Eurythmics,
Soul II Soul,
Pagans,
New Age Steppers,
Mission of Burma,
Todd Terry,
Avey Tare & Kría Brekkan,
Nirvana,
Swell Maps,
The Cramps,
Heavy D & The Boyz,
Hasil Adkins,
The Evens,
Rhythim Is Rhythim,
New Order,
Groovy Waters,
The Residents,
Susan Cadogan,
Oppenheimer Analysis,
Glambeats Corp.,
Lou Reed & John Cale,
Cabaret Voltaire,
Fela Kuti,
Soulsonic Force,
Rufus Thomas,
The Offenders,
The Kinks,
Qualms,
Maurizio,
Gong,
Ultimate Spinach,
The Slits,
Eric B and Rakim,
Jawbox,
One Last Wish,
The Motions,
Röyhkä ja Rättö ja Lehtisalo,
The Pop Group,
Pussy Galore,
The Raincoats,
Kango’s Stein Massive,
Can,
The Stooges,
Smog,
Al Stewart,
Youth Brigade,
Brick,
Sällskapet,
Flamin' Groovies,
John Lydon,
Wally Richardson,
The Birthday Party,
Harpers Bizarre,
Deakin,
The Saints,
Rowland S Howard / Lydia Lunch,
Grauzone,
Vainqueur,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.