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 Norway and from Cairo.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Calgary.
I'm losing my edge to the art-school Copenhagen 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 Human League practice in a loft in Sheffield.
I was working on the güiro 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 Eden Ahbez to the electroclash kids.
I played it at the Crocodile.
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 Deakin. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Sunsets and Hearts record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Lightning Bolt,
Quando Quango,
48th St. Collective,
Agitation Free,
Peter and Kerry,
The Evens,
Chrome,
Rhythim Is Rhythim,
The Five Americans,
Babytalk,
Chris & Cosey,
Joe Smooth,
Johnny Osbourne,
Nico,
New Order,
Roxy Music,
The West Coast Pop Art Experimental Band,
Lafayette Afro Rock Band,
Selector Dub Narcotic,
Magazine,
The Sound,
The Fortunes,
Sister Nancy,
Little Man,
The Wake,
L. Decosne,
June Days,
Circle Jerks,
Mission of Burma,
John Lydon,
The Royal Family And The Poor,
Symarip,
Tom Boy,
Barclay James Harvest,
Janne Schatter,
Pantytec,
Minor Threat,
Dead Boys,
New Age Steppers,
Byron Stingily,
The Monochrome Set,
Scan 7,
The Invisible,
Cheater Slicks,
Ash Ra Tempel,
Deadbeat,
Man Parrish,
Spandau Ballet,
Bobby Sherman,
Josef K,
Letta Mbulu,
Grandmaster Flash,
Kings Of Tomorrow,
Flipper,
Matthew Bourne,
Black Moon,
Kas Product,
Derrick Morgan,
Skaos,
Moby Grape,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.