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 Indonesia and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Paris 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 Rotary Connection to the techno 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 Hasil Adkins. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every The Fortunes 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 '80s cut and another box set from the '70s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Y Pants,
Grey Daturas,
Bill Near,
LL Cool J,
Technova,
The Doors,
Manfred Mann's Earth Band,
Scratch Acid,
Jesper Dahlback,
Teenage Jesus and the Jerks,
John Lydon,
Jandek,
Bizarre Inc.,
Dawn Penn,
Joy Division,
Oblivians,
Saccharine Trust,
Radiohead,
Liaisons Dangereuses,
The Residents,
Mad Mike,
Connie Case,
Davy DMX,
Minor Threat,
Pussy Galore,
The Smoke,
Orchestral Manoeuvres in the Dark,
Amon Düül,
Pantaleimon,
Deadbeat,
Barbara Tucker,
The Blackbyrds,
Steve Hackett,
Deakin,
Bluetip,
Marmalade,
Rufus Thomas,
Bootsy's Rubber Band,
Blossom Toes,
Wire,
Vaughan Mason & Crew,
Lindisfarne,
Sparks,
Aswad,
Goldenarms,
Symarip,
Maleditus Sound,
Monolake,
Severed Heads,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scrapy,
Khruangbin,
Q and Not U,
Cal Tjader,
New York Dolls,
Colin Newman,
Boz Scaggs,
Make Up,
Malaria!,
Lou Christie,
Gerry Rafferty,
Robert Hood,
The Smiths, The Smiths, The Smiths, The Smiths.
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.