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 Seychelles and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and Portland.
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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Amon Düül to the rap kids.
I played it at Trash.
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 Kool G Rap & DJ Polo. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Beasts of Bourbon,
Erasure,
The West Coast Pop Art Experimental Band,
Alice Coltrane,
Chrome,
Circle Jerks,
Terrestrial Tones,
Marc Almond,
Unrelated Segments,
Young Marble Giants,
Derrick May,
Wire,
Kauko Röyhkä ja Narttu,
Das Ding,
Max Romeo,
Alison Limerick,
Johnny Osbourne,
Scratch Acid,
Grey Daturas,
This Heat,
Be Bop Deluxe,
The Birthday Party,
Wighnomy Brothers & Robag Wruhme,
Big Daddy Kane,
Liliput,
Gichy Dan,
Cluster,
In Retrospect,
Tears for Fears,
Fear,
Boogie Down Productions,
Erykah Badu,
Red Lorry Yellow Lorry,
Roxy Music,
Gastr Del Sol,
Bizarre Inc.,
The Misunderstood,
Orchestral Manoeuvres in the Dark,
Easy Going,
Anthony Braxton,
John Holt,
Pantaleimon,
Yaz,
John Foxx,
Connie Case,
Nik Kershaw,
Deadbeat,
Josef K,
Laurel Aitken,
The Saints,
Dawn Penn,
The Cramps,
Ice-T,
Angels of Light & Akron/Family,
Peter Gordon & Love of Life Orchestra,
Interpol,
Scott Walker + Sunn O))),
The Cure,
Grauzone,
Lyres,
Lebanon Hanover,
The Leaves, The Leaves, The Leaves, The Leaves.
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.