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 Seychelles and from Milan.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school Milan 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Tommy Roe to the techno 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 Country Joe & The Fish. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every James White and The Blacks 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
DJ Sneak,
The Mojo Men,
Arcadia,
Make Up,
L. Decosne,
Major Organ And The Adding Machine,
Brick,
The Martian,
Kauko Röyhkä ja Narttu,
Althea and Donna,
Unrelated Segments,
Susan Cadogan,
Prince Buster,
Rekid,
Pete Rock & C.L. Smooth,
Negative Approach,
Sarah Menescal,
Radio Birdman,
Fort Wilson Riot,
Derrick May,
Super Lover Cee & Casanova Rud,
Heaven 17,
Eli Mardock,
Morten Harket,
PIL,
Ultra Naté,
Arthur Verocai,
Gary Puckett & The Union Gap,
B.T. Express,
The Neon Judgement,
Half Japanese,
Kerri Chandler,
Barclay James Harvest,
Archie Shepp,
Infiniti,
Ituana,
Skriet,
Erasure,
Schoolly D,
The Sonics,
Nation of Ulysses,
Sun Ra,
Todd Terry,
Kayak,
Marmalade,
The Slits,
Boogie Down Productions,
Cymande,
Stiv Bators,
Yaz,
Toni Rubio,
Gil Scott-Heron and Jamie xx,
Deepchord,
The Remains,
The Flesh Eaters,
EPMD,
Smog,
The Fall,
Manfred Mann's Earth Band,
Colin Newman,
Monks, Monks, Monks, Monks.
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.