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 United States and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1977.
I'm losing my edge.
To all the kids in Tehran and Bremen.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the organ sounds with much patience.
I was there when Tom Verlaine 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 Cowsills to the disco kids.
I played it at Trash.
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 the Fania All-Stars. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Major Organ And The Adding Machine record on German import.
I heard that you have a white label of every seminal funk 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 a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Roxette,
The Victims,
Iggy Pop,
The Smoke,
Moss Icon,
Jandek,
The Mojo Men,
Bang on a Can All-Stars,
CMW,
Country Joe & The Fish,
The Fire Engines,
Sparks,
Dennis Brown,
The Names,
Fela Kuti,
Camouflage,
Judy Mowatt,
Television,
Jesper Dahlbäck,
John Coltrane,
Slick Rick,
The Music Machine,
Parry Music,
The Invisible,
Eyeless In Gaza,
Liliput,
Smog,
The Associates,
Fugazi,
Altered Images,
Crispian St. Peters,
Ultramagnetic MC's,
Dorothy Ashby,
Isaac Hayes,
The Tremeloes,
June Days,
World's Most,
MC5,
Matthew Bourne,
Swans,
Au Pairs,
Absolute Body Control,
Half Japanese,
K-Klass,
The Sonics,
Eden Ahbez,
Wally Richardson,
Marvin Gaye,
Yellowson,
Slave,
Main Source,
Kool G Rap & DJ Polo,
Sun Ra Arkestra,
Brand Nubian,
The Seeds,
the Normal,
Soul II Soul,
The Velvet Underground,
Bluetip,
The Divine Comedy,
Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx, Gil Scott-Heron and Jamie xx.
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.