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 Ukraine and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Beijing.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Rowland S Howard / Lydia Lunch to the dance 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 June of 44. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Aswad,
Chrome,
Pantytec,
Pere Ubu,
The Mighty Diamonds,
The Vogues,
Stiv Bators,
Idris Muhammad,
The Gun Club,
Graham Central Station,
Heavy D & The Boyz,
Bush Tetras,
Pet Shop Boys,
Barrington Levy,
Ash Ra Tempel,
The Index,
World's Most,
Sex Pistols,
Fluxion,
Bobby Byrd,
Funky Four + One,
Das Ding,
Section 25,
It's A Beautiful Day,
Scratch Acid,
F. McDonald,
The Tremeloes,
The Cowsills,
Gang Gang Dance,
Y Pants,
Popol Vuh,
DJ Style,
Lindisfarne,
Rekid,
Scion,
Agent Orange,
Marc Romboy vs. Booka Shade,
Joyce Sims,
Suburban Knight,
Stockholm Monsters,
Schoolly D,
Radiopuhelimet,
David McCallum,
Ohio Players,
Harmonia,
Model 500,
Lonnie Liston Smith,
Pharaoh Sanders and the Fire Engines,
Morten Harket,
Camouflage,
Eyeless In Gaza,
10cc,
Janne Schatter,
Terry Callier,
Crash Course in Science,
Marmalade,
Avey Tare's Slasher Flicks,
De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers, De La Soul & Jungle Brothers.
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.