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 Cuba and from Spokane.
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 1971.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Jakarta 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 guitar 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 The Shadows of Knight to the grunge kids.
I played it at the Crocodile.
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 Dead C. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Byron Stingily 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donny Hathaway,
Parry Music,
Jeff Lynne,
Glenn Branca,
Von Mondo,
Eli Mardock,
Boz Scaggs,
Rhythm & Sound,
The Durutti Column,
The Cowsills,
E-Dancer,
X-Ray Spex,
Man Parrish,
The Trojans,
Chris & Cosey,
EPMD,
Guru Guru,
Pole,
Davy DMX,
Althea and Donna,
Marcia Griffiths,
Blancmange,
Eric Copeland,
Rotary Connection,
Lou Reed & Metallica,
Cecil Taylor,
Dennis Brown,
B.T. Express,
Lower 48,
Tom Boy,
MC5,
Johnny Clarke,
Khruangbin,
Gil Scott-Heron & Brian Jackson,
Oppenheimer Analysis,
Hasil Adkins,
The Black Dice,
The Zeros,
Susan Cadogan,
The Victims,
a-ha,
Young Marble Giants,
Louis and Bebe Barron,
Desert Stars,
The Doobie Brothers,
The Wake,
The Litter,
The Star Department,
Subhumans,
Icehouse,
Fat Boys,
New Order,
Dual Sessions,
Wolf Eyes,
Freddie Wadling,
Hardrive,
Alton Ellis,
Gary Puckett & The Union Gap,
Wasted Youth,
Section 25,
Lalann,
Dave Gahan,
Harmonia, Harmonia, Harmonia, Harmonia.
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.