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 Japan and from Milan.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Madrid.
I'm losing my edge to the art-school Bremen 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 808 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 Johnny Clarke to the rock kids.
I played it at the Spitz.
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 The United States of America. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every the Fania All-Stars record on German import.
I heard that you have a white label of every seminal techno 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton 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?
Oppenheimer Analysis,
Richard Hell and the Voidoids,
Traffic Nightmare,
Eli Mardock,
Section 25,
In Retrospect,
The Neon Judgement,
The Cure,
The Slits,
Mission of Burma,
Ice-T,
Ossler,
Pere Ubu,
Camberwell Now,
Mad Mike,
U.S. Maple,
Symarip,
The Skatalites,
Man Parrish,
Throbbing Gristle,
Rotary Connection,
Y Pants,
Livin' Joy,
Manfred Mann's Earth Band,
John Holt,
Carl Craig,
The Dave Clark Five,
Interpol,
Marc Almond,
Japan,
Joe Finger,
Matthew Bourne,
Pylon,
Scan 7,
Sister Nancy,
Peter & Gordon,
Babytalk,
Hoover,
Television,
Pantaleimon,
Saccharine Trust,
Robert Görl,
Todd Terry,
Blake Baxter,
Suburban Knight,
Surgeon,
Black Moon,
Terry Callier,
Q65,
Kayak,
PIL,
Duran Duran,
The Standells,
The Moody Blues,
Harry Pussy,
The Flesh Eaters,
Groovy Waters,
Theoretical Girls,
Marcia Griffiths,
Liaisons Dangereuses,
Siglo XX,
Orchestral Manoeuvres in the Dark,
Aloha Tigers,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.