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 Liberia 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 1966 to 1972.
I'm losing my edge.
To all the kids in Milan and Lagos.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 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 Hot Snakes to the funk kids.
I played it at Trash.
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 Depeche Mode. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
The Count Five,
Notorious Big And Bone Thugs,
Lalo Schifrin,
Juan Atkins,
Con Funk Shun,
Masters at Work,
Bronski Beat,
Sight & Sound,
Radiohead,
The Moleskins,
Barry Ungar,
Harry Pussy,
Minny Pops,
The Toasters,
A Certain Ratio,
Radiopuhelimet,
Teenage Jesus and the Jerks,
Mark Hollis,
Q and Not U,
T. Rex,
Justin Hinds & The Dominoes,
Interpol,
John Holt,
Bluetip,
Lou Reed & John Cale,
Black Pus,
Major Organ And The Adding Machine,
Echo & the Bunnymen,
Susan Cadogan,
Los Fastidios,
Flamin' Groovies,
Gang Starr,
Camouflage,
Alton Ellis,
Matthew Halsall,
Hot Snakes,
Liaisons Dangereuses,
Drexciya,
Kool G Rap & DJ Polo,
Freddie Wadling,
Barbara Tucker,
Colin Newman,
Pulsallama,
Tomorrow,
Sällskapet,
Rhythim Is Rhythim,
Swell Maps,
Warsaw,
Lee Hazlewood,
The Gladiators,
Franke,
Be Bop Deluxe,
The Remains,
Siglo XX,
Symarip,
Junior Murvin,
The Beau Brummels,
Y Pants,
Deepchord,
Crispian St. Peters,
Technova,
Marc Almond,
X-102, X-102, X-102, X-102.
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.