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 Egypt and from Spokane.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Manila and Calgary.
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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Chrome to the dance kids.
I played it at the Hacienda.
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 Tomorrow. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal grime 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 a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Tomorrow,
Bush Tetras,
Jacques Brel,
Thompson Twins,
Ultravox,
Moby Grape,
Popol Vuh,
Nick Fraelich,
D'Angelo,
Cecil Taylor,
Arthur Verocai,
Organ,
Roxy Music,
Maleditus Sound,
The Mighty Diamonds,
Vladislav Delay,
A Certain Ratio,
Bad Manners,
Youth Brigade,
JFA,
Monolake,
10cc,
Godley & Creme,
Terrestrial Tones,
The Durutti Column,
The Offenders,
Heavy D & The Boyz,
Scientists,
Flipper,
Con Funk Shun,
Bluetip,
June of 44,
Ultimate Spinach,
Lou Reed,
The Fuzztones,
Arab on Radar,
Eric Dolphy,
L. Decosne,
Index,
Lebanon Hanover,
Lizzy Mercier Descloux,
Pantytec,
Harry Pussy,
The Associates,
Peter and Kerry,
Outsiders,
Blake Baxter,
Robert Görl,
London Community Gospel Choir,
The Young Rascals,
The Grass Roots,
Black Sheep,
In Retrospect,
The Divine Comedy,
Yazoo,
DeepChord presents Echospace,
Robert Wyatt,
Banda Bassotti,
Kenny Larkin,
Ash Ra Tempel,
Animal Collective,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.