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 Peru and from Lille.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Houston and Manchester.
I'm losing my edge to the art-school Glasgow 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 at the first Suicide practice in a loft in New York.
I was working on the snare 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 Silicon Teens to the disco 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 Infiniti. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal dance 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 a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Mad Mike,
Curtis Mayfield,
Kings Of Tomorrow,
Visage,
Brass Construction,
Lightning Bolt,
A Certain Ratio,
Anakelly,
Symarip,
Soulsonic Force,
Bill Near,
The Flesh Eaters,
Accadde A,
The Cramps,
the Bar-Kays,
The Trojans,
Thee Headcoats,
Ronnie Foster,
Model 500,
The Moleskins,
Nation of Ulysses,
Don Cherry,
Faraquet,
Gian Franco Pienzio,
Little Man,
the Soft Cell,
Ornette Coleman,
Wasted Youth,
Gary Puckett & The Union Gap,
Magma,
Deutsch Amerikanische Freundschaft,
Dennis Brown,
The Zeros,
Gong,
Andrew Ashong & Theo Parrish,
Sugar Minott,
Laurel Aitken,
Alice Coltrane,
Japan,
Suburban Knight,
Letta Mbulu,
Althea and Donna,
Vaughan Mason & Crew,
Wire,
Barrington Levy,
Interpol,
The Peanut Butter Conspiracy,
Glambeats Corp.,
Gregory Isaacs,
Chris Corsano,
Thinking Fellers Union Local 282,
Kaleidoscope,
The United States of America,
Radiopuhelimet,
Altered Images,
The Tremeloes,
Peter Gordon & Love of Life Orchestra,
John Foxx,
Cymande,
China Crisis,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.