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 Lebanon and from Taipei.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Houston and Tokyo.
I'm losing my edge to the art-school Calgary 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 Chic practice in a loft in New York.
I was working on the mellotron 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 The Modern Lovers to the rap 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 DNA. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Alice Coltrane 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 '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
John Foxx,
Essential Logic,
Peter and Kerry,
Matthew Halsall,
Nick Cave & The Bad Seeds,
Deutsch Amerikanische Freundschaft,
Chris & Cosey,
Maleditus Sound,
Harmonia,
Curtis Mayfield,
Major Organ And The Adding Machine,
Derrick May,
Banda Bassotti,
Severed Heads,
Rufus Thomas,
Marvin Gaye,
Barrington Levy,
The Litter,
Be Bop Deluxe,
Dennis Brown,
The Star Department,
The Golliwogs,
Rekid,
Stiv Bators,
The Wake,
DNA,
The Blues Magoos,
James White and The Blacks,
Dorothy Ashby,
Electric Light Orchestra,
Kerri Chandler,
Babytalk,
Goldenarms,
Japan,
Freddie Wadling,
The Neon Judgement,
Scion,
Big Daddy Kane,
Arthur Verocai,
The Durutti Column,
Maurizio,
Wolf Eyes,
Oblivians,
Siouxsie and the Banshees,
Bobby Sherman,
Country Joe & The Fish,
Cameo,
The Red Krayola,
The Count Five,
The Happenings,
The Beau Brummels,
Angry Samoans,
Oppenheimer Analysis,
Tomorrow,
The Cure,
the Normal,
Lakeside,
Ponytail,
Erykah Badu,
Gil Scott Heron,
Boogie Down Productions,
Urselle,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.