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 Kiribati and from Copenhagen.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Toronto and Houston.
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 synthesizer 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 Nation of Ulysses to the grunge kids.
I played it at the Troubador.
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 Eric B and Rakim. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every MDC 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Lonnie Liston Smith,
kango's stein massive,
Ultramagnetic MC's,
Grey Daturas,
Das Ding,
Buzzcocks,
Gang of Four,
Bill Wells,
Kaleidoscope,
Morten Harket,
Monolake,
the Slits,
The Flesh Eaters,
Thee Headcoats,
Crash Course in Science,
Rekid,
Jacob Miller,
Alison Limerick,
Arthur Verocai,
The Doobie Brothers,
Gang Starr,
Little Man,
Kevin Saunderson,
Mad Mike,
Peter and Kerry,
Echo & the Bunnymen,
Crime,
Circle Jerks,
Moby Grape,
Lungfish,
Second Layer,
Amazonics,
The Misunderstood,
Althea and Donna,
Grandmaster Flash,
The Knickerbockers,
Be Bop Deluxe,
Talk Talk,
The Toasters,
Quantec,
Lalo Schifrin,
Model 500,
Inner City,
Banda Bassotti,
Thompson Twins,
Richard Hell and the Voidoids,
Yusef Lateef,
The Moleskins,
a-ha,
London Community Gospel Choir,
Kerrie Biddell,
The Sisters of Mercy,
MC5,
Lalann,
Roxy Music,
Selector Dub Narcotic,
Reuben Wilson,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.