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 Mauritania and from New York.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 The Flesh Eaters to the grunge 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 Sex Pistols. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Brothers Johnson,
Funky Four + One,
The Fire Engines,
F. McDonald,
Fela Kuti,
Jacob Miller,
Tears for Fears,
Public Enemy,
Popol Vuh,
B.T. Express,
The Associates,
Eve St. Jones,
Rufus Thomas,
Agent Orange,
Ponytail,
Depeche Mode,
Lee Hazlewood,
Amon Düül,
Stetsasonic,
Tomorrow,
The Walker Brothers,
Carl Craig,
Public Image Ltd.,
K-Klass,
Brick,
Royal Trux,
kango's stein massive,
Boogie Down Productions,
Barclay James Harvest,
Kerrie Biddell,
the Normal,
New York Dolls,
Organ,
Henry Cow,
Pete Rock & C.L. Smooth,
Pylon,
June Days,
The West Coast Pop Art Experimental Band,
Lalann,
Roger Hodgson,
Siouxsie and the Banshees,
Drive Like Jehu,
The Moleskins,
Franke,
The Tremeloes,
Minutemen,
Pantaleimon,
the Association,
Roxy Music,
Scion,
Ohio Players,
Sad Lovers and Giants,
Sly & The Family Stone,
Hoover,
Quantec,
John Coltrane,
Electric Light Orchestra,
Pagans,
cv313,
The Knickerbockers,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.