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 Guinea and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Tokyo 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 David Bowie 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 Minny Pops to the crunk kids.
I played it at the Troubador.
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 Roxette. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Derrick Morgan,
Joyce Sims,
Suburban Knight,
Drive Like Jehu,
Pylon,
Sugar Minott,
Pagans,
Buzzcocks,
Heaven 17,
Patti Smith,
Robert Hood,
The Associates,
Nik Kershaw,
Roger Hodgson,
The Names,
Harry Pussy,
Can,
Kool Moe Dee,
Maurizio,
The Men They Couldn't Hang,
Flipper,
The Mojo Men,
The Skatalites,
Larry & the Blue Notes,
The Dirtbombs,
Röyhkä ja Rättö ja Lehtisalo,
Arcadia,
The Fugs,
Duran Duran,
Jesper Dahlback,
Ralphi Rosario,
CMW,
Symarip,
Eric B and Rakim,
Gang Starr,
The New Christs,
Chris Corsano,
Alton Ellis,
Sparks,
The Pretty Things,
The Techniques,
Aswad,
Todd Terry,
Swell Maps,
Infiniti,
Simply Red,
Soulsonic Force,
Scott Walker + Sunn O))),
The Beau Brummels,
The Fuzztones,
Lou Christie,
Big Daddy Kane,
Shuggie Otis,
the Association,
Tears for Fears,
Au Pairs,
The Saints,
Audionom,
Johnny Clarke,
Stockholm Monsters,
Brick,
Pulsallama,
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.