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 Grenada and from Portland.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
I'm losing my edge to the art-school Stockholm 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 Human League practice in a loft in Sheffield.
I was working on the linndrum 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 Moody Blues to the grime kids.
I played it at CBGB's.
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 Strawberry Alarm Clock. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Cybotron 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
James Chance & The Contortions,
Gastr Del Sol,
Marmalade,
Radio Birdman,
Soft Machine,
Suburban Knight,
The Electric Prunes,
Dawn Penn,
Albert Ayler,
Agitation Free,
Aural Exciters,
the Human League,
Man Parrish,
Tropical Tobacco,
Stereo Dub,
Amon Düül II,
Andrew Ashong & Theo Parrish,
Bad Manners,
The Victims,
The Remains,
The Fugs,
T.S.O.L.,
Eddi Front,
Bizarre Inc.,
Ludus,
Richard Hell and the Voidoids,
The Slits,
Barbara Tucker,
Tim Buckley,
Harpers Bizarre,
Nick Fraelich,
Quadrant,
Interpol,
Thinking Fellers Union Local 282,
UT,
Ultra Naté,
Aswad,
Vaughan Mason & Crew,
Susan Cadogan,
The Cowsills,
Basic Channel,
The New Christs,
Parry Music,
Q and Not U,
The Music Machine,
The Divine Comedy,
Ultramagnetic MC's,
The Young Rascals,
Terrestrial Tones,
The Red Krayola,
Vladislav Delay,
Notorious Big And Bone Thugs,
New Order,
Brass Construction,
Aloha Tigers,
Jerry Gold Smith,
Gang Green,
Crime,
Lower 48,
Amon Düül,
Sparks,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.