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 Ghana and from Woodstock.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Manila and Lille.
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 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 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 Bauhaus to the techno kids.
I played it at Trash.
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 Ossler. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
Spandau Ballet,
The Flesh Eaters,
Strawberry Alarm Clock,
Larry & the Blue Notes,
the Swans,
H. Thieme,
Alison Limerick,
Slick Rick,
The Gories,
Gabor Szabo,
Lou Reed & Metallica,
Anakelly,
Silicon Teens,
Lou Reed,
Fatback Band,
Sandy B,
Sällskapet,
The Move,
Bluetip,
Angels of Light & Akron/Family,
Thinking Fellers Union Local 282,
Donny Hathaway,
Wally Richardson,
The Durutti Column,
Chris Corsano,
The Index,
Mars,
Pantaleimon,
Siglo XX,
kango's stein massive,
Wolf Eyes,
Avey Tare,
Red Lorry Yellow Lorry,
Harpers Bizarre,
Whodini,
Art Ensemble Of Chicago,
Godley & Creme,
Underground Resistance,
Rod Modell,
Terrestrial Tones,
Public Image Ltd.,
The Monks,
Niagra,
The Blackbyrds,
DJ Sneak,
AZ,
The Shadows of Knight,
Black Pus,
Prince Buster,
Groovy Waters,
Juan Atkins,
Absolute Body Control,
Subhumans,
The Monochrome Set,
Barbara Tucker,
Crooked Eye,
Barrington Levy,
Country Joe & The Fish,
Wire,
Pylon,
Ornette Coleman,
One Last Wish,
John Cale, John Cale, John Cale, John Cale.
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.