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 East Timor and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school New York 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Japan to the disco 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 R.M.O.. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Curtis Mayfield,
The Doors,
Dual Sessions,
Junior Murvin,
Selector Dub Narcotic,
Roxette,
Lebanon Hanover,
The Golliwogs,
Alphaville,
Q and Not U,
Joey Negro,
The Flesh Eaters,
Whodini,
Harpers Bizarre,
Half Japanese,
Depeche Mode,
Bill Near,
The Cosmic Jokers,
Spoonie Gee,
Outsiders,
Saccharine Trust,
This Heat,
Alton Ellis,
Johnny Osbourne,
Marc Almond,
Michelle Simonal,
Andrew Ashong & Theo Parrish,
Prince Buster,
The Stooges,
Urselle,
David McCallum,
Magazine,
Grandmaster Flash,
Pierre Henry,
Suicide,
Gong,
The Wake,
Albert Ayler,
Letta Mbulu,
Hardrive,
LL Cool J,
Sight & Sound,
Marmalade,
Neu!,
Jeru the Damaja,
The Fugs,
Bluetip,
Sixth Finger,
Jeff Mills,
Aswad,
The Monks,
Harry Pussy,
The Mighty Diamonds,
ABC,
Stereo Dub,
Faraquet,
Glambeats Corp.,
The Gap Band,
Tommy Roe,
Parry Music,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.