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 Qatar and from Stockholm.
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 1979.
I'm losing my edge.
To all the kids in Salvador 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Gian Franco Pienzio to the grunge kids.
I played it at the Spitz.
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 Public Enemy. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Dave Clark Five record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Goldenarms,
Gichy Dan,
Soul Sonic Force,
The Happenings,
Howard Jones,
Supertramp,
cv313,
John Lydon,
Minutemen,
Lafayette Afro Rock Band,
The Dirtbombs,
Bill Near,
Avey Tare,
Gil Scott-Heron & Brian Jackson,
Scott Walker,
Mandrill,
Gregory Isaacs,
Strawberry Alarm Clock,
FM Einheit,
Lou Reed & John Cale,
Peter & Gordon,
Zapp,
X-102,
Monks,
Heavy D & The Boyz,
Grauzone,
The Seeds,
Reagan Youth,
The Modern Lovers,
The Chocolate Watch Band,
The Divine Comedy,
Das Ding,
Davy DMX,
Fatback Band,
Mr. Review,
Piero Umiliani,
Super Lover Cee & Casanova Rud,
Alphaville,
Spandau Ballet,
Steve Hackett,
The Flesh Eaters,
Wighnomy Brothers & Robag Wruhme,
Dual Sessions,
Byron Stingily,
David Axelrod,
Quadrant,
Fluxion,
Lalann,
Chris & Cosey,
Al Stewart,
Livin' Joy,
Minnie Riperton,
Orchestral Manoeuvres in the Dark,
The Men They Couldn't Hang,
Joyce Sims,
Au Pairs,
Ten City,
Magazine,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.