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 St Lucia and from Beijing.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Houston and Winnipeg.
I'm losing my edge to the art-school Beijing 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 Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 The Mojo Men 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 Deakin. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter 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?
Gerry Rafferty,
E-Dancer,
D'Angelo,
The Kinks,
Traffic Nightmare,
Underground Resistance,
Audionom,
Altered Images,
Neu!,
Subhumans,
The Mummies,
A Certain Ratio,
Wolf Eyes,
Masters at Work,
Sister Nancy,
Dark Day,
EPMD,
New Order,
Hashim,
Davy DMX,
Agent Orange,
John Lydon,
Morten Harket,
Public Enemy,
Lyres,
Dave Gahan,
Scan 7,
L. Decosne,
Barclay James Harvest,
The Monochrome Set,
Stockholm Monsters,
Dorothy Ashby,
Reuben Wilson,
Country Joe & The Fish,
Laurel Aitken,
John Coltrane,
Rapeman,
The Music Machine,
The Cramps,
The Mighty Diamonds,
The Slits,
John Cale,
Barrington Levy,
Selector Dub Narcotic,
The Offenders,
DNA,
Sparks,
Gang Gang Dance,
London Community Gospel Choir,
UT,
Moby Grape,
Maleditus Sound,
The Pop Group,
Wasted Youth,
the Soft Cell,
Wings,
The Slackers,
Hasil Adkins,
Gian Franco Pienzio,
U.S. Maple,
the Normal,
Malaria!,
Symarip, Symarip, Symarip, Symarip.
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.