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 Bahamas and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Cairo and London.
I'm losing my edge to the art-school Lille 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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 Brothers Johnson to the grime 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 Audionom. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
The Music Machine,
Chris Corsano,
The Victims,
the Human League,
Silicon Teens,
Television,
Flipper,
John Cale,
Technova,
Al Stewart,
Los Fastidios,
Con Funk Shun,
Matthew Bourne,
Arab on Radar,
Susan Cadogan,
Pole,
Laurel Aitken,
Fad Gadget,
The Happenings,
Joyce Sims,
Eric Copeland,
Throbbing Gristle,
The Modern Lovers,
The Sound,
Siouxsie and the Banshees,
Althea and Donna,
The Pop Group,
Moby Grape,
Mantronix,
T. Rex,
Maleditus Sound,
Albert Ayler,
The Five Americans,
Second Layer,
The Index,
the Fania All-Stars,
Orchestral Manoeuvres in the Dark,
Selector Dub Narcotic,
Sun Ra,
Procol Harum,
La Düsseldorf,
Jeff Mills,
Roy Ayers,
The Fall,
Hot Snakes,
Charles Mingus,
Davy DMX,
Scrapy,
Cybotron,
The Men They Couldn't Hang,
Lightning Bolt,
Magazine,
Larry & the Blue Notes,
the Sonics,
Masters at Work,
Peter & Gordon,
Gary Puckett & The Union Gap,
Public Image Ltd.,
Avey Tare,
Flash Fearless,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.