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 Ireland and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Shanghai and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 güiro sounds with much patience.
I was there when David Bowie 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 Warsaw to the techno 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 Duran Duran. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Agitation Free,
Larry & the Blue Notes,
The Star Department,
The Music Machine,
Sexual Harrassment,
Kerri Chandler,
Piero Umiliani,
Cecil Taylor,
Lakeside,
Donny Hathaway,
B.T. Express,
UT,
Isaac Hayes,
a-ha,
The Invisible,
Robert Görl,
Art Ensemble Of Chicago,
Electric Light Orchestra,
Dead Boys,
Sparks,
Andrew Hill,
Dorothy Ashby,
Second Layer,
Yazoo,
Smog,
The Gap Band,
Ultra Naté,
Interpol,
Orchestral Manoeuvres in the Dark,
The Martian,
Skarface,
Electric Prunes,
The Dead C,
Rotary Connection,
Strawberry Alarm Clock,
David Axelrod,
Bob Dylan,
Skaos,
Excepter,
Tommy Roe,
Ultramagnetic MC's,
Blossom Toes,
Curtis Mayfield,
Letta Mbulu,
MDC,
The Count Five,
Eddi Front,
Schoolly D,
Anthony Braxton,
the Bar-Kays,
Marmalade,
Franke,
Fifty Foot Hose,
the Association,
Moebius,
Liaisons Dangereuses,
Aural Exciters,
China Crisis,
Joy Division,
The Cure,
Amon Düül II,
Mantronix,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.