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 Seoul.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Bremen and Tehran.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 It's A Beautiful Day to the disco kids.
I played it at the Hacienda.
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 Stiv Bators. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every La Düsseldorf 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yaz,
Liaisons Dangereuses,
Sexual Harrassment,
The Busters,
Avey Tare,
Tomorrow,
Dark Day,
Soul II Soul,
The Moleskins,
Suburban Knight,
Matthew Halsall,
48th St. Collective,
Eddi Front,
Ornette Coleman,
Orchestral Manoeuvres in the Dark,
Deakin,
Neu!,
the Slits,
Kevin Saunderson,
Donald Byrd,
The Litter,
Lindisfarne,
Yusef Lateef,
Outsiders,
Cameo,
Dead Boys,
Animal Collective,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dr. Dre and Snoop Doggy Dog,
Ultra Naté,
Babytalk,
JFA,
Bang On A Can,
The Seeds,
Public Image Ltd.,
Jawbox,
Black Moon,
Y Pants,
Bootsy Collins,
Jeff Lynne,
DNA,
The Fugs,
Sad Lovers and Giants,
The Toasters,
Absolute Body Control,
Warsaw,
The Men They Couldn't Hang,
Flamin' Groovies,
La Düsseldorf,
Jandek,
John Cale,
Clear Light,
Gil Scott-Heron and Jamie xx,
Malaria!,
Lou Christie,
Steve Hackett,
Danielle Patucci,
D'Angelo,
Wighnomy Brothers & Robag Wruhme,
Blake Baxter,
The Flesh Eaters,
the Normal,
The J.B.'s,
David McCallum, David McCallum, David McCallum, David McCallum.
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.