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 Nauru and from Shanghai.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Paris and Seoul.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 David Bowie to the grime kids.
I played it at the Roxy.
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 Slits. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Stiv Bators 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your snare and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Television,
Motorama,
Harpers Bizarre,
Nirvana,
Von Mondo,
Sandy B,
Country Teasers,
Dark Day,
DNA,
Max Romeo,
Bush Tetras,
Selector Dub Narcotic,
Mo-Dettes,
The Fire Engines,
Panda Bear,
The Move,
Eve St. Jones,
Eric Dolphy,
Unrelated Segments,
Visage,
Black Pus,
a-ha,
Andrew Ashong & Theo Parrish,
Man Parrish,
Harry Pussy,
Gerry Rafferty,
Boredoms,
Oneida,
Outsiders,
A Certain Ratio,
Orchestral Manoeuvres in the Dark,
Amon Düül,
Loose Ends,
The Standells,
The Invisible,
Joyce Sims,
Lightning Bolt,
kango's stein massive,
Deutsch Amerikanische Freundschaft,
Wighnomy Brothers & Robag Wruhme,
Amazonics,
The Slackers,
Yazoo,
Supertramp,
Jeff Lynne,
Sunsets and Hearts,
Icehouse,
Susan Cadogan,
Visionaries,LMNO, T- Love & Iriscience,
Neil Young,
Oppenheimer Analysis,
The Gladiators,
Talk Talk,
PIL,
The Tremeloes,
Tim Buckley,
Jeff Mills,
Red Lorry Yellow Lorry,
Bronski Beat,
Sight & Sound,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.