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 Trinidad & Tobago and from Hong Kong.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Motions to the jazz kids.
I played it at Trash.
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 Cluster. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Quando Quango 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Max Romeo,
Amazonics,
Q65,
The Men They Couldn't Hang,
Boredoms,
Circle Jerks,
Masters at Work,
Swans,
Little Man,
Bobby Byrd,
Fad Gadget,
Nick Fraelich,
Dark Day,
Wasted Youth,
The Velvet Underground,
The Jesus and Mary Chain,
Scratch Acid,
Reagan Youth,
Ultravox,
Marc Almond,
Todd Terry,
Absolute Body Control,
New Age Steppers,
Gang Gang Dance,
The Wake,
Gary Puckett & The Union Gap,
Boogie Down Productions,
Lalann,
James Chance & The Contortions,
Avey Tare's Slasher Flicks,
Audionom,
the Association,
The Tremeloes,
Jawbox,
the Soft Cell,
Art Ensemble Of Chicago,
The Count Five,
Nico,
The Smoke,
Lindisfarne,
The Trojans,
Franke,
Louis and Bebe Barron,
The J.B.'s,
The Saints,
Sam Rivers,
World's Most,
John Cale,
A Certain Ratio,
Peter Gordon & Love of Life Orchestra,
Avey Tare & Kría Brekkan,
Groovy Waters,
Jesper Dahlbäck,
Barry Ungar,
Inner City,
Stiv Bators,
Ten City,
Quantec,
X-101,
Eve St. Jones,
Can, Can, Can, Can.
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.