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 Nigeria and from Seoul.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Bologna and Cairo.
I'm losing my edge to the art-school Taipei 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Kango’s Stein Massive to the rap kids.
I played it at the Hacienda.
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 Bluetip. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Lindisfarne 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Sexual Harrassment,
Andrew Hill,
The Smiths,
The Alarm Clocks,
Mary Jane Girls,
Larry & the Blue Notes,
Andrew Ashong & Theo Parrish,
Black Flag,
Rotary Connection,
Bang On A Can,
Country Teasers,
A Flock of Seagulls,
The Count Five,
CMW,
Siouxsie and the Banshees,
The Misunderstood,
The Cowsills,
The Index,
Deutsch Amerikanische Freundschaft,
Mr. Review,
Stereo Dub,
Rekid,
8 Eyed Spy,
T.S.O.L.,
PIL,
The Golliwogs,
Skriet,
Tears for Fears,
Ossler,
Scan 7,
Byron Stingily,
La Düsseldorf,
The Evens,
Girls At Our Best!,
Scott Walker,
Pet Shop Boys,
The Toasters,
Skaos,
The Fortunes,
Eyeless In Gaza,
Faust,
The Dirtbombs,
The Fugs,
Con Funk Shun,
Black Moon,
Idris Muhammad,
Rites of Spring,
Cluster,
Lakeside,
Make Up,
DJ Style,
Brand Nubian,
Absolute Body Control,
Traffic Nightmare,
the Normal,
DJ Sneak,
Parry Music,
Brick,
Ralphi Rosario,
The Monks,
Masters at Work,
T. Rex,
The Human League, The Human League, The Human League, The Human League.
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.