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 Lesotho and from Winnipeg.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Milan and London.
I'm losing my edge to the art-school Woodstock 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 guitar 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 Amon Düül to the rap kids.
I played it at the Troubador.
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 the Germs. All the underground hits.
All Index tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Barclay James Harvest,
Interpol,
Gil Scott-Heron & Brian Jackson,
Ken Boothe,
Hoover,
Minutemen,
Avey Tare & Kría Brekkan,
Darondo,
Crash Course in Science,
Roxette,
The Doobie Brothers,
Joensuu 1685,
Young Marble Giants,
Bizarre Inc.,
The Human League,
Amazonics,
The Stooges,
Hardrive,
Kaleidoscope,
Traffic Nightmare,
the Sonics,
Lou Christie,
Youth Brigade,
Grandmaster Flash,
Heaven 17,
Sun Ra Arkestra,
The Count Five,
The Beau Brummels,
Sun Ra,
Country Teasers,
Be Bop Deluxe,
Idris Muhammad,
Oneida,
L. Decosne,
the Association,
Scratch Acid,
48th St. Collective,
Mission of Burma,
Ultravox,
Eyeless In Gaza,
Pantytec,
Gil Scott Heron,
Max Romeo,
Juan Atkins,
Kauko Röyhkä ja Narttu,
Notorious BIG live in Amsterdam,
Ice-T,
Boredoms,
Roy Ayers,
DJ Style,
Cymande,
Avey Tare's Slasher Flicks,
Sly & The Family Stone,
The Flesh Eaters,
James Chance & The Contortions,
Main Source,
X-Ray Spex,
Flash Fearless,
X-102,
Kool Moe Dee,
Average White Band,
Fluxion,
FM Einheit,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.