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 Oman and from Salvador.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Calgary and Delhi.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Lou Reed to the grime kids.
I played it at the Crocodile.
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 Los Fastidios. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Mo-Dettes record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Roy Ayers Ubiquity,
The Kinks,
Sister Nancy,
Oblivians,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Alison Limerick,
Franke,
T. Rex,
The Pop Group,
Flamin' Groovies,
World's Most,
Scott Walker + Sunn O))),
Joyce Sims,
Nils Olav,
Marc Romboy vs. Booka Shade,
Harpers Bizarre,
Lou Christie,
Rapeman,
Oppenheimer Analysis,
The Invisible,
Larry & the Blue Notes,
Ornette Coleman,
Angry Samoans,
Young Marble Giants,
Babytalk,
Essential Logic,
Liliput,
Gabor Szabo,
Smog,
Soft Cell,
Connie Case,
the Swans,
Godley & Creme,
Byron Stingily,
Avey Tare,
Blossom Toes,
Suicide,
The Slits,
The Evens,
Von Mondo,
Kool Moe Dee,
The Durutti Column,
Visage,
The Move,
Grauzone,
Black Flag,
Average White Band,
Crooked Eye,
Kauko Röyhkä ja Narttu,
June of 44,
Sunsets and Hearts,
Pere Ubu,
Junior Murvin,
Soft Machine,
Howard Jones,
Eurythmics,
The Alarm Clocks,
Wings,
Pagans, Pagans, Pagans, Pagans.
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.