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 Bulgaria and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television 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 1968 to 1979.
I'm losing my edge.
To all the kids in Paris and Portland.
I'm losing my edge to the art-school Manchester 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the theremin 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 Sandy B to the electroclash 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 The Misunderstood. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Donny Hathaway record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
The Walker Brothers,
Half Japanese,
Jawbox,
The Leaves,
Roy Ayers Ubiquity,
The Red Krayola,
World's Most,
The Gladiators,
The Knickerbockers,
Sight & Sound,
Dorothy Ashby,
Art Ensemble Of Chicago,
Amazonics,
Jacques Brel,
Sugar Minott,
Easy Going,
Mandrill,
The Alarm Clocks,
The Blues Magoos,
The Index,
The Names,
Bootsy Collins,
The Toasters,
Harry Pussy,
Bobby Hutcherson,
Tears for Fears,
Peter Gordon & Love of Life Orchestra,
Magma,
Junior Murvin,
Dual Sessions,
The Mighty Diamonds,
Q65,
the Soft Cell,
Scott Walker,
CMW,
Joy Division,
Lou Reed & John Cale,
Eddi Front,
Black Moon,
Gil Scott-Heron and Jamie xx,
Bill Wells,
The Sonics,
The Fugs,
Japan,
The Cowsills,
the Swans,
Make Up,
Harmonia,
Agitation Free,
Gabor Szabo,
Ohio Players,
The Jesus and Mary Chain,
Dave Gahan,
Pulsallama,
Ken Boothe,
Ajijia Myrayebe,
Anakelly,
Soulsonic Force,
Kings Of Tomorrow,
The Litter,
Rakim,
John Lydon, John Lydon, John Lydon, John Lydon.
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.