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 Costa Rica and from Paris.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Mexico City 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Slits to the disco kids.
I played it at the Troubador.
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 Seeds. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Leonard Cohen 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 rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Isaac Hayes,
Bauhaus,
Godley & Creme,
Magazine,
Inner City,
Tubeway Army,
Fatback Band,
Accadde A,
Gil Scott Heron,
Ohio Players,
Louis and Bebe Barron,
Wighnomy Brothers & Robag Wruhme,
The Tremeloes,
Malaria!,
Soulsonic Force,
Ultramagnetic MC's,
Gang Gang Dance,
Prince Buster,
Nas,
Marc Almond,
Echospace,
Notorious BIG live in Amsterdam,
The Residents,
Sarah Menescal,
Mark Hollis,
Terrestrial Tones,
Skriet,
Jacques Brel,
Slave,
Archie Shepp,
Au Pairs,
Silicon Teens,
Urselle,
The Happenings,
Radio Birdman,
Janne Schatter,
Black Moon,
Pharaoh Sanders and the Fire Engines,
Mantronix,
David McCallum,
OOIOO,
the Swans,
Eric Copeland,
Pantytec,
The Mummies,
Super Lover Cee & Casanova Rud,
Half Japanese,
AZ,
Flash Fearless,
The Skatalites,
Ken Boothe,
Gastr Del Sol,
The Count Five,
The Music Machine,
Soft Machine,
Franke,
the Slits,
Organ,
Negative Approach,
Alphaville,
Popol Vuh,
Hoover, Hoover, Hoover, Hoover.
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.