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 Austria and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Beijing 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Soft Cell to the grunge 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 Ultramagnetic MC's. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every The Royal Family And The Poor record on German import.
I heard that you have a white label of every seminal electroclash 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 a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
The Young Rascals,
Fort Wilson Riot,
The Beau Brummels,
Gong,
Oppenheimer Analysis,
Frankie Knuckles,
The Saints,
Siouxsie and the Banshees,
James Chance & The Contortions,
Traffic Nightmare,
Louis and Bebe Barron,
Byron Stingily,
Joyce Sims,
X-101,
Bronski Beat,
Das Ding,
The Moody Blues,
Stereo Dub,
Brick,
Yazoo,
Joey Negro,
David Bowie,
Oblivians,
Procol Harum,
Boz Scaggs,
Godley & Creme,
Echospace,
Minny Pops,
Eric Copeland,
Lafayette Afro Rock Band,
Neu!,
Magma,
Gerry Rafferty,
Fela Kuti,
Organ,
The Star Department,
Sam Rivers,
The Sonics,
The Count Five,
Saccharine Trust,
Albert Ayler,
The Invisible,
the Germs,
Pantaleimon,
Silicon Teens,
Juan Atkins,
The Black Dice,
Hoover,
Supertramp,
Ituana,
Electric Prunes,
Man Eating Sloth,
Eve St. Jones,
New Age Steppers,
Heavy D & The Boyz,
James White and The Blacks,
Desert Stars,
Public Enemy,
the Sonics,
U.S. Maple,
Lou Christie,
The Selecter,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.