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 Somalia and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1965 to 1975.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Madrid 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 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 10cc to the punk kids.
I played it at the Spitz.
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 Parry Music. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DeepChord presents Echospace,
Amon Düül II,
Theoretical Girls,
Arthur Verocai,
Black Bananas,
Art Ensemble Of Chicago,
Mo-Dettes,
The Last Poets,
Sad Lovers and Giants,
Glambeats Corp.,
Wire,
Sugar Minott,
Unrelated Segments,
Pete Rock & C.L. Smooth,
The Sonics,
The Slits,
kango's stein massive,
Television,
the Association,
Minutemen,
Shuggie Otis,
Little Man,
Minor Threat,
Bad Manners,
Fort Wilson Riot,
Boredoms,
Skaos,
Althea and Donna,
The Grass Roots,
the Germs,
Fifty Foot Hose,
The Blackbyrds,
Eric B and Rakim,
Liliput,
Brass Construction,
Darondo,
The New Christs,
Drive Like Jehu,
Jesper Dahlback,
The Pretty Things,
The Kinks,
Lower 48,
Tom Boy,
Intrusion,
Fugazi,
Echospace,
Roxette,
Rhythim Is Rhythim,
Jeru the Damaja,
Oppenheimer Analysis,
Rufus Thomas,
Talk Talk,
ABBA,
The Martian,
Marine Girls,
Dave Gahan,
Freddie Wadling,
Guru Guru,
Crispian St. Peters,
The Divine Comedy,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.