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 Netherlands and from Lagos.
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 Bremen and Spokane.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Cymande to the grime kids.
I played it at the 40 Watt.
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 Crash Course in Science. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Jay Z And Juelz,
Fat Boys,
Ten City,
Rites of Spring,
Fifty Foot Hose,
Siouxsie and the Banshees,
Lou Reed & John Cale,
Subhumans,
Rod Modell,
Neil Young & Crazy Horse,
Anthony Braxton,
The Invisible,
Chris Corsano,
a-ha,
The Mojo Men,
Can,
Amon Düül,
David Axelrod,
Barry Ungar,
Man Eating Sloth,
World's Most,
Johnny Clarke,
Sound Behaviour,
Glenn Branca,
Ronan,
Alphaville,
David Bowie,
Pulsallama,
Toni Rubio,
AZ,
Sparks,
Manfred Mann's Earth Band,
Theoretical Girls,
Maleditus Sound,
Ornette Coleman,
B.T. Express,
The Monks,
Eric Copeland,
Second Layer,
Sad Lovers and Giants,
Derrick May,
The Dirtbombs,
Gong,
The Seeds,
Janne Schatter,
Banda Bassotti,
Dave Gahan,
Gang Starr,
Skriet,
Liaisons Dangereuses,
Brand Nubian,
Jandek,
Eli Mardock,
T. Rex,
the Soft Cell,
Lou Reed & Metallica,
Sun City Girls,
Talk Talk,
Rhythm & Sound,
Graham Central Station,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.