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 Mauritania and from Beijing.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Cairo 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Derrick May to the techno kids.
I played it at the Hacienda.
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 Section 25. All the underground hits.
All A Flock of Seagulls tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Major Organ And The Adding Machine,
Stockholm Monsters,
Neil Young & Crazy Horse,
AZ,
Harpers Bizarre,
Television Personalities,
Eden Ahbez,
X-102,
Clear Light,
London Community Gospel Choir,
Shoche,
Jacques Brel,
Urselle,
Bizarre Inc.,
Second Layer,
Gil Scott Heron,
The J.B.'s,
The Remains,
Tim Buckley,
Neu!,
ABC,
Byron Stingily,
Faraquet,
DJ Sneak,
Half Japanese,
Oblivians,
Freddie Wadling,
Lower 48,
Barry Ungar,
Black Flag,
The Evens,
Idris Muhammad,
The Cramps,
Jimmy McGriff,
The Chocolate Watch Band,
Kango’s Stein Massive,
Art Ensemble Of Chicago,
Hashim,
Blancmange,
Eli Mardock,
Oneida,
Black Pus,
Soul II Soul,
the Human League,
Angry Samoans,
48th St. Collective,
Infiniti,
World's Most,
Negative Approach,
Slave,
James White and The Blacks,
Jawbox,
The Alarm Clocks,
Jeru the Damaja,
Blake Baxter,
Essential Logic,
Fad Gadget,
The Sonics,
Grey Daturas,
Chris Corsano,
Icehouse, Icehouse, Icehouse, Icehouse.
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.