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 Turkmenistan and from Lagos.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1977.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Seoul 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 mellotron sounds with much patience.
I was there when David Bowie 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 Isaac Hayes to the techno kids.
I played it at the Crocodile.
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 Althea and Donna. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Rotary Connection 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion 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?
MC5,
Dead Boys,
Albert Ayler,
Ornette Coleman,
The Residents,
Youth Brigade,
Tres Demented,
Joensuu 1685,
Dorothy Ashby,
Make Up,
Outsiders,
Ice-T,
Pete Rock & C.L. Smooth,
Stereo Dub,
Avey Tare & Kría Brekkan,
The Pop Group,
Visionaries,LMNO, T- Love & Iriscience,
H. Thieme,
Steve Hackett,
Flamin' Groovies,
Andrew Ashong & Theo Parrish,
Pagans,
Hashim,
Rakim,
Cal Tjader,
The Slackers,
Nick Cave & The Bad Seeds,
Arcadia,
Cheater Slicks,
The Mojo Men,
Public Enemy,
Lindisfarne,
David Axelrod,
The Modern Lovers,
Trumans Water,
Barclay James Harvest,
Johnny Osbourne,
Mars,
Au Pairs,
The West Coast Pop Art Experimental Band,
Panda Bear,
Jesper Dahlback,
Patti Smith,
Japan,
Richard Hell and the Voidoids,
Deutsch Amerikanische Freundschaft,
De La Soul & Jungle Brothers,
Moby Grape,
Blossom Toes,
Vladislav Delay,
FM Einheit,
Parry Music,
The Motions,
Magma,
Jeru the Damaja,
Neil Young,
Kings Of Tomorrow,
The Martian,
Lungfish,
Bill Near, Bill Near, Bill Near, Bill Near.
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.