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 St Lucia and from Tokyo.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Accra and Manchester.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Modern Lovers to the funk kids.
I played it at CBGB's.
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 Country Teasers. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Jerry Gold Smith,
Donny Hathaway,
The Slits,
Bauhaus,
Godley & Creme,
Robert Wyatt,
KRS-One,
Main Source,
EPMD,
Kaleidoscope,
Erasure,
Public Image Ltd.,
L. Decosne,
The Blackbyrds,
Johnny Osbourne,
Larry & the Blue Notes,
The Mighty Diamonds,
Ponytail,
Juan Atkins,
Crispy Ambulance,
Aloha Tigers,
Joe Smooth,
Radio Birdman,
A Flock of Seagulls,
Bobbi Humphrey,
Mars,
Swans,
Tommy Roe,
Al Stewart,
Soul II Soul,
Lalo Schifrin,
Infiniti,
Basic Channel,
The Divine Comedy,
ABC,
CMW,
These Immortal Souls,
Super Lover Cee & Casanova Rud,
Hoover,
Grauzone,
Banda Bassotti,
Gil Scott-Heron and Jamie xx,
Flamin' Groovies,
Bobby Sherman,
Lalann,
Alton Ellis,
Ajijia Myrayebe,
Swell Maps,
Monolake,
MC5,
MDC,
Josef K,
David Bowie,
Jesper Dahlbäck,
Slave,
Isaac Hayes,
Eddi Front,
This Heat,
The Dead C,
Hot Snakes,
Johnny Clarke,
Joensuu 1685,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.