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 Congo and from Seoul.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Tehran and Paris.
I'm losing my edge to the art-school Jakarta 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 1979 at the first Josef K practice in a loft in Edinburgh.
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 Howard Jones to the techno kids.
I played it at the Hacienda.
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 Ituana. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every The Velvet Underground 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aloha Tigers,
Fugazi,
The Doors,
Electric Light Orchestra,
Ash Ra Tempel,
New York Dolls,
De La Soul & Jungle Brothers,
Alison Limerick,
Oppenheimer Analysis,
T.S.O.L.,
Bobby Sherman,
10cc,
Big Daddy Kane,
The Happenings,
The Mighty Diamonds,
Marshall Jefferson,
Hot Snakes,
The Peanut Butter Conspiracy,
Suicide,
Minor Threat,
Soft Cell,
the Swans,
John Lydon,
Eric Copeland,
Dennis Brown,
Bootsy Collins,
the Fania All-Stars,
Andrew Hill,
Graham Central Station,
Reuben Wilson,
Thompson Twins,
Jerry Gold Smith,
Ossler,
Absolute Body Control,
Qualms,
Rowland S Howard / Lydia Lunch,
Warren Ellis,
Country Joe & The Fish,
The Raincoats,
Rufus Thomas,
Byron Stingily,
Eric B and Rakim,
Sixth Finger,
Fear,
Roxette,
Animal Collective,
OOIOO,
F. McDonald,
Isaac Hayes,
Youth Brigade,
Howard Jones,
Avey Tare,
The Velvet Underground,
Section 25,
The Mojo Men,
Eurythmics,
Mantronix,
Black Sheep,
The Standells,
Patti Smith,
Blancmange,
The Fugs, The Fugs, The Fugs, The Fugs.
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.