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 Kingdom and from Delhi.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Bremen 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 spring reverb 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 Liliput to the rap kids.
I played it at the Spitz.
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 Slick Rick. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Zero Boys,
Roy Ayers,
Masters at Work,
World's Most,
Bill Wells,
London Community Gospel Choir,
Pharaoh Sanders and the Fire Engines,
La Düsseldorf,
Aural Exciters,
Hardrive,
Marine Girls,
Black Moon,
Orchestral Manoeuvres in the Dark,
Symarip,
Supertramp,
Laurel Aitken,
Joe Finger,
Theoretical Girls,
The Electric Prunes,
The Cramps,
Urselle,
Underground Resistance,
Jawbox,
Black Sheep,
Franke,
Notorious BIG live in Amsterdam,
Glenn Branca,
MDC,
Bobbi Humphrey,
John Lydon,
Dual Sessions,
Andrew Ashong & Theo Parrish,
Animal Collective,
Matthew Halsall,
Blossom Toes,
Dave Gahan,
Larry & the Blue Notes,
LL Cool J,
The Pretty Things,
Peter & Gordon,
KRS-One,
The Birthday Party,
The Blackbyrds,
Newcleus,
Panda Bear,
the Normal,
Sly & The Family Stone,
Rowland S Howard / Lydia Lunch,
Traffic Nightmare,
Chris & Cosey,
Slave,
Glambeats Corp.,
Kango’s Stein Massive,
June of 44,
Lebanon Hanover,
Black Bananas,
A Certain Ratio,
Pulsallama,
Stetsasonic,
Liliput,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.