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 Mongolia and from Portland.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Manila.
I'm losing my edge to the art-school Manila 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Soft Cell to the grunge kids.
I played it at the Astoria.
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 Cabaret Voltaire. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every the Association 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Lou Reed & John Cale,
Bronski Beat,
Roy Ayers,
The Star Department,
Fifty Foot Hose,
The Pretty Things,
Marc Romboy vs. Booka Shade,
Grandmaster Flash and the Furious Five,
Lou Reed,
Michelle Simonal,
Archie Shepp,
Camberwell Now,
Barclay James Harvest,
Motorama,
Heavy D & The Boyz,
Eric Copeland,
Q and Not U,
H. Thieme,
Freddie Wadling,
Nas,
Los Fastidios,
Ralphi Rosario,
Rowland S Howard / Lydia Lunch,
Sandy B,
Chris Corsano,
Nico,
Pharaoh Sanders and the Fire Engines,
Scratch Acid,
Rod Modell,
Second Layer,
The Seeds,
Stiv Bators,
Ash Ra Tempel,
Ronnie Foster,
Radio Birdman,
Nik Kershaw,
The Buckinghams,
Oblivians,
Rites of Spring,
Reuben Wilson,
Fela Kuti,
Bobbi Humphrey,
Sonic Youth,
Black Pus,
Curtis Mayfield,
Tubeway Army,
La Düsseldorf,
Intrusion,
Kerri Chandler,
Mad Mike,
Silicon Teens,
The Selecter,
Underground Resistance,
Rahsaan Roland Kirk,
Erasure,
Supertramp,
Sight & Sound,
Public Image Ltd.,
The Index,
Juan Atkins,
Fear,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.