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 Malawi and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1979.
I'm losing my edge.
To all the kids in Lille and London.
I'm losing my edge to the art-school Manchester 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 clarinet 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 Sex Pistols to the electroclash 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 The Fugs. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every The Stooges record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
The Standells,
Can,
Roy Ayers Ubiquity,
John Lydon,
The Sonics,
Davy DMX,
Shuggie Otis,
The Jesus and Mary Chain,
The Busters,
Banda Bassotti,
Grauzone,
Bauhaus,
Japan,
Thee Headcoats,
OOIOO,
Traffic Nightmare,
Skaos,
Lou Reed,
One Last Wish,
Skarface,
T. Rex,
Grandmaster Flash and the Furious Five,
Lee Hazlewood,
the Fania All-Stars,
The Grass Roots,
Bobby Womack,
Aaron Thompson,
Mr. Review,
Ronan,
Soul Sonic Force,
Gregory Isaacs,
Tres Demented,
Thompson Twins,
Marcia Griffiths,
Sexual Harrassment,
The Music Machine,
Colin Newman,
Soft Machine,
Unwound,
Stockholm Monsters,
Agitation Free,
Television,
E-Dancer,
The Leaves,
Magma,
the Normal,
Dennis Brown,
Sunsets and Hearts,
Inner City,
Deakin,
Ponytail,
48th St. Collective,
The Dead C,
Liliput,
Whodini,
Manfred Mann's Earth Band,
Trumans Water,
Cabaret Voltaire,
Kas Product,
Freddie Wadling,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.