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 Cuba and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
I'm losing my edge to the art-school Manila 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 Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Flamin' Groovies to the crunk kids.
I played it at the Crocodile.
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 Lou Reed & John Cale. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Peter & Gordon,
James White and The Blacks,
Eric Dolphy,
Man Eating Sloth,
Sound Behaviour,
Bluetip,
The Electric Prunes,
Intrusion,
Ronnie Foster,
Adolescents,
Quantec,
Bizarre Inc.,
Lizzy Mercier Descloux,
The Music Machine,
Delta 5,
Beasts of Bourbon,
Black Bananas,
Rapeman,
Fluxion,
Marine Girls,
Bob Dylan,
Tom Boy,
Agent Orange,
Sam Rivers,
The J.B.'s,
Nirvana,
Massinfluence,
The Fuzztones,
Henry Cow,
Sly & The Family Stone,
Tubeway Army,
Alice Coltrane,
Mars,
Soft Cell,
Kurtis Blow,
Lou Reed & John Cale,
Sex Pistols,
The Monks,
Kevin Saunderson,
Motorama,
Dr. Dre and Snoop Doggy Dog,
Saccharine Trust,
Eve St. Jones,
Isaac Hayes,
Bobby Womack,
Liaisons Dangereuses,
Lebanon Hanover,
EPMD,
T.S.O.L.,
In Retrospect,
A Certain Ratio,
Scan 7,
The Gap Band,
Silicon Teens,
The Star Department,
Camouflage,
Tropical Tobacco,
Dave Gahan,
Gastr Del Sol,
Subhumans,
Joy Division, Joy Division, Joy Division, Joy Division.
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.