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 Yemen and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Philadelphia and Manchester.
I'm losing my edge to the art-school Paris 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 linndrum 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 The Offenders to the electroclash kids.
I played it at Cafe Wha.
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 The Doors. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Boredoms record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Terry Callier,
Oppenheimer Analysis,
James White and The Blacks,
Quando Quango,
Wighnomy Brothers & Robag Wruhme,
The American Breed,
Pulsallama,
The Beau Brummels,
Bob Dylan,
Graham Central Station,
Skaos,
Infiniti,
Gong,
Scratch Acid,
Jacob Miller,
The Fall,
Mad Mike,
This Heat,
Nils Olav,
Al Stewart,
The Saints,
Bootsy Collins,
Max Romeo,
Television Personalities,
Yellowson,
Can,
Hardrive,
ABC,
Brand Nubian,
Jeru the Damaja,
Brick,
Monolake,
The Selecter,
Urselle,
Gang Gang Dance,
Arthur Verocai,
Swell Maps,
Tommy Roe,
Laurel Aitken,
Brass Construction,
Lower 48,
Camron Feat. Memphis Bleek And Beenie Seigel,
Todd Terry,
Pylon,
kango's stein massive,
Cluster,
Scan 7,
Quadrant,
F. McDonald,
Skarface,
Liaisons Dangereuses,
Chrome,
Michelle Simonal,
Sun City Girls,
Rapeman,
DJ Style,
Lalann,
Vainqueur,
Animal Collective,
Qualms, Qualms, Qualms, Qualms.
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.