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 Portugal and from Houston.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Bologna and Portland.
I'm losing my edge to the art-school Delhi 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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb 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 Lou Reed to the grunge 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 Little Man. All the underground hits.
All Terry Callier tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
L. Decosne,
Bob Dylan,
Aaron Thompson,
Soul II Soul,
The Shadows of Knight,
Masters at Work,
Bizarre Inc.,
Dual Sessions,
Cecil Taylor,
Bang On A Can,
Joe Smooth,
the Swans,
The Selecter,
Model 500,
Delta 5,
Deadbeat,
The Pretty Things,
The Men They Couldn't Hang,
Moebius,
Arthur Verocai,
Ohio Players,
The Peanut Butter Conspiracy,
The Smoke,
The Fortunes,
Barclay James Harvest,
Lalann,
China Crisis,
The Toasters,
Jesper Dahlbäck,
Kerri Chandler,
Swans,
Erykah Badu,
Avey Tare,
Avey Tare's Slasher Flicks,
Monks,
Camouflage,
Joey Negro,
Subhumans,
Neil Young & Crazy Horse,
Ash Ra Tempel,
Crime,
Piero Umiliani,
Fatback Band,
Camberwell Now,
Flipper,
Sun Ra,
Rhythim Is Rhythim,
The Moody Blues,
Flamin' Groovies,
Erasure,
Ronan,
Theoretical Girls,
The Tremeloes,
Rites of Spring,
T.S.O.L.,
Johnny Clarke,
H. Thieme,
EPMD,
Babytalk,
Byron Stingily,
Circle Jerks,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.