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 Djibouti and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1962 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
I'm losing my edge to the art-school Sao Paulo 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 linndrum 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 Jeru the Damaja to the electroclash kids.
I played it at the Hacienda.
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 Grandmaster Flash. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every 10cc 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 '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
The Real Kids,
Los Fastidios,
Major Organ And The Adding Machine,
Bill Wells,
Roxette,
CMW,
Fear,
Big Daddy Kane,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sandy B,
Tropical Tobacco,
Jerry Gold Smith,
Spandau Ballet,
Darondo,
Joe Smooth,
Tears for Fears,
Magma,
David McCallum,
Massinfluence,
The Mighty Diamonds,
Cal Tjader,
Chrome,
The Detroit Cobras,
Al Stewart,
Terrestrial Tones,
Depeche Mode,
Section 25,
The Fuzztones,
Ornette Coleman,
A Certain Ratio,
Jawbox,
D'Angelo,
Cymande,
The Barracudas,
Nirvana,
Wings,
Camron Feat. Jay Z And Juelz,
The Evens,
Radio Birdman,
Zapp,
Stockholm Monsters,
Johnny Osbourne,
Funky Four + One,
The Fortunes,
Man Parrish,
Harpers Bizarre,
Tommy Roe,
The Star Department,
Steve Hackett,
Piero Umiliani,
Model 500,
Brass Construction,
Radiohead,
Suburban Knight,
Röyhkä ja Rättö ja Lehtisalo,
The Invisible,
Robert Görl,
Agent Orange,
Teenage Jesus and the Jerks,
Carl Craig,
World's Most,
The Sonics,
Lou Christie,
The Doors, The Doors, The Doors, The Doors.
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.