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 Ivory Coast and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1975.
I'm losing my edge.
To all the kids in Tokyo and Delhi.
I'm losing my edge to the art-school Glasgow 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Godley & Creme to the jazz kids.
I played it at the 40 Watt.
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 Zeros. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Skriet 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Traffic Nightmare,
Skriet,
Second Layer,
The Sonics,
Pylon,
LL Cool J,
Pierre Henry,
Babytalk,
Surgeon,
The Young Rascals,
Simply Red,
Terry Callier,
Brass Construction,
The Last Poets,
Delta 5,
Smog,
Half Japanese,
Lower 48,
The Litter,
Orchestral Manoeuvres in the Dark,
Inner City,
Amazonics,
Glambeats Corp.,
Pagans,
In Retrospect,
Dorothy Ashby,
Zero Boys,
Sly & The Family Stone,
The Velvet Underground,
Amon Düül II,
Todd Terry,
Gang of Four,
Rufus Thomas,
Quadrant,
Mad Mike,
Monks,
Grauzone,
The Fugs,
Ultravox,
Royal Trux,
The Jesus and Mary Chain,
Beasts of Bourbon,
John Lydon,
Roxy Music,
Q and Not U,
Kerrie Biddell,
the Fania All-Stars,
Al Stewart,
Marine Girls,
the Soft Cell,
Jerry Gold Smith,
Franke,
Country Joe & The Fish,
ABC,
Tubeway Army,
Gabor Szabo,
Arcadia,
Scratch Acid,
Amon Düül,
The Residents, The Residents, The Residents, The Residents.
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.