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 Latvia and from Mexico City.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school Shanghai 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Dorothy Ashby to the electroclash kids.
I played it at Cafe Wha.
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 Richard Hell and the Voidoids. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Gang Gang Dance 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 '70s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lalann record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
Crooked Eye,
Derrick Morgan,
X-102,
Agent Orange,
London Community Gospel Choir,
Scrapy,
Gerry Rafferty,
Nas,
The Remains,
Stockholm Monsters,
Freddie Wadling,
Man Eating Sloth,
Gastr Del Sol,
Pharoah Sanders,
Skaos,
Marcia Griffiths,
Wally Richardson,
Todd Rundgren,
Neil Young,
Rufus Thomas,
The Index,
Maurizio,
Avey Tare & Kría Brekkan,
Peter and Kerry,
JFA,
Porter Ricks,
The Associates,
X-101,
Dorothy Ashby,
The Royal Family And The Poor,
Alice Coltrane,
Black Flag,
Sällskapet,
Metal Thangz,
MDC,
Alphaville,
Sandy B,
Tomorrow,
Traffic Nightmare,
Carl Craig,
Terrestrial Tones,
Visionaries,LMNO, T- Love & Iriscience,
Selector Dub Narcotic,
Kerri Chandler,
Livin' Joy,
Grauzone,
Stereo Dub,
The Electric Prunes,
Sarah Menescal,
Black Sheep,
Bronski Beat,
Unrelated Segments,
Isaac Hayes,
Lucky Dragons,
Lyres,
MC5,
T.S.O.L.,
The Beau Brummels,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.