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 Micronesia and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Edmonton 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Camouflage to the rap kids.
I played it at the Astoria.
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 Negative Approach. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Matthew Bourne 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Lindisfarne,
Mandrill,
June Days,
Joensuu 1685,
Ponytail,
Skarface,
Essential Logic,
The J.B.'s,
Aural Exciters,
It's A Beautiful Day,
Barry Ungar,
Pharoah Sanders,
Qualms,
Orchestral Manoeuvres in the Dark,
Ajijia Myrayebe,
Hasil Adkins,
Quantec,
Surgeon,
Reagan Youth,
Carl Craig,
Bill Wells,
Bronski Beat,
Grauzone,
Angry Samoans,
Blake Baxter,
Faraquet,
Ultra Naté,
Davy DMX,
Donny Hathaway,
Roxy Music,
Motorama,
Magazine,
Fela Kuti,
Crime,
Big Daddy Kane,
The Walker Brothers,
The Moody Blues,
The Young Rascals,
CMW,
The Index,
Black Sheep,
Kauko Röyhkä ja Narttu,
The Trojans,
Terrestrial Tones,
Lakeside,
Aloha Tigers,
Rakim,
The Mummies,
Half Japanese,
Archie Shepp,
Eric Copeland,
Leonard Cohen,
Black Moon,
Roger Hodgson,
The Pop Group,
Boogie Down Productions,
T.S.O.L.,
Underground Resistance,
Siouxsie and the Banshees,
Warsaw, Warsaw, Warsaw, Warsaw.
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.