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 Burkina and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1977.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Glasgow 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Peter Gordon & Love of Life Orchestra to the electroclash 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 Delta 5. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Marvin Gaye,
Brass Construction,
Chris & Cosey,
Flash Fearless,
Monolake,
The Real Kids,
Harmonia,
Theoretical Girls,
Malaria!,
Gang Starr,
Model 500,
Blancmange,
Fear,
The Smiths,
Charles Mingus,
Loose Ends,
The Fuzztones,
The Invisible,
Arthur Verocai,
UT,
Erasure,
T.S.O.L.,
Nirvana,
Dorothy Ashby,
Hardrive,
Be Bop Deluxe,
Echo & the Bunnymen,
The Residents,
DNA,
Black Sheep,
Radiopuhelimet,
Amon Düül II,
Bad Manners,
Amon Düül,
Visage,
Bluetip,
Moby Grape,
Kango’s Stein Massive,
Josef K,
Japan,
Simply Red,
Duran Duran,
Section 25,
Neil Young,
The Fire Engines,
Rhythim Is Rhythim,
The Human League,
the Normal,
Unwound,
Deadbeat,
Man Parrish,
Gil Scott-Heron & Brian Jackson,
Barbara Tucker,
Big Daddy Kane,
The Fall,
Avey Tare,
Funky Four + One,
Donny Hathaway,
John Lydon,
F. McDonald,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.