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 Portugal and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Houston 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 linndrum 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 Tomorrow to the grime kids.
I played it at the Astoria.
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 Buzzcocks. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
The Misunderstood,
Sexual Harrassment,
the Human League,
Ronnie Foster,
Notorious Big And Bone Thugs,
Gian Franco Pienzio,
The Star Department,
the Sonics,
Joey Negro,
Funkadelic,
Minutemen,
Röyhkä ja Rättö ja Lehtisalo,
Isaac Hayes,
The Black Dice,
Charles Mingus,
Ultravox,
Lyres,
Quando Quango,
The Jesus and Mary Chain,
Alton Ellis,
The Techniques,
Hashim,
Ronan,
The Dirtbombs,
Sound Behaviour,
The Alarm Clocks,
Moby Grape,
Tropical Tobacco,
Thompson Twins,
Camouflage,
Lonnie Liston Smith,
Althea and Donna,
The New Christs,
Magma,
The Gladiators,
Supertramp,
Soft Machine,
Grandmaster Flash and the Furious Five,
Depeche Mode,
Quadrant,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Banda Bassotti,
Urselle,
Harmonia,
David Bowie,
Severed Heads,
Aswad,
The Remains,
Desert Stars,
Max Romeo,
Lower 48,
Wighnomy Brothers & Robag Wruhme,
Robert Hood,
Malaria!,
Josef K,
Agitation Free,
Lou Reed & Metallica,
Michelle Simonal,
The Durutti Column,
Main Source,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.