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 Croatia and from Copenhagen.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lyon and New York.
I'm losing my edge to the art-school Lagos 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 chamberlin 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 The Gories to the funk 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 Nas. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
The Detroit Cobras,
Bobbi Humphrey,
The Angels of Light,
Mo-Dettes,
Ultramagnetic MC's,
Joyce Sims,
Blancmange,
DNA,
The Motions,
Avey Tare's Slasher Flicks,
Delon & Dalcan,
Loose Ends,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rufus Thomas,
Rapeman,
Unwound,
Whodini,
Iggy Pop,
Guru Guru,
Steve Hackett,
Q and Not U,
Metal Thangz,
Infiniti,
Beasts of Bourbon,
Fluxion,
Goldenarms,
Neil Young & Crazy Horse,
Section 25,
Rotary Connection,
Thinking Fellers Union Local 282,
ABBA,
The Walker Brothers,
Marshall Jefferson,
Q65,
Mark Hollis,
Donny Hathaway,
Barry Ungar,
Agitation Free,
Mr. Review,
Swans,
CMW,
Lee Hazlewood,
The Offenders,
Magma,
Larry & the Blue Notes,
The Golliwogs,
Qualms,
The Pop Group,
FM Einheit,
The Fortunes,
Liliput,
Electric Prunes,
The Buckinghams,
Marcia Griffiths,
Maurizio,
Au Pairs,
Drexciya,
Joey Negro,
Alice Coltrane,
David McCallum, David McCallum, David McCallum, David McCallum.
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.