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 Sweden and from Johannesburg.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Oblivians to the crunk kids.
I played it at the 40 Watt.
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 Unrelated Segments. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blancmange,
Barry Ungar,
The Smiths,
Oneida,
Tomorrow,
Erykah Badu,
Aloha Tigers,
Siouxsie and the Banshees,
Con Funk Shun,
Visionaries,LMNO, T- Love & Iriscience,
kango's stein massive,
Robert Wyatt,
Slave,
The Cosmic Jokers,
Letta Mbulu,
Slick Rick,
Teenage Jesus and the Jerks,
Ituana,
Mark Hollis,
Deakin,
Tropical Tobacco,
Lower 48,
The Standells,
Nirvana,
The Divine Comedy,
Sam Rivers,
Circle Jerks,
Thinking Fellers Union Local 282,
AZ,
The New Christs,
The Mighty Diamonds,
The Associates,
Mad Mike,
Jacques Brel,
Captain Beefheart & His Magic Band,
Flash Fearless,
Ludus,
Be Bop Deluxe,
Gong,
The Moleskins,
Das Ding,
Ohio Players,
Joensuu 1685,
Whodini,
Connie Case,
Essential Logic,
The Residents,
Sällskapet,
U.S. Maple,
Half Japanese,
Tim Buckley,
The Cowsills,
Marc Almond,
Black Sheep,
Isaac Hayes,
Warsaw,
Peter and Kerry,
New Age Steppers,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.