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 Cape Verde and from Edmonton.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Jakarta 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 The Slits 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 Soulsonic Force. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Pere Ubu 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Soft Cell,
Fugazi,
John Cale,
The Slits,
Ponytail,
Bush Tetras,
D'Angelo,
The Names,
Interpol,
Simply Red,
Goldenarms,
The Sound,
Sly & The Family Stone,
Josef K,
Neil Young,
John Foxx,
Pulsallama,
Justin Hinds & The Dominoes,
Au Pairs,
Todd Rundgren,
Oblivians,
The Chocolate Watch Band,
Jacques Brel,
Ossler,
Cameo,
Robert Görl,
Guru Guru,
Eric Copeland,
Masters at Work,
Man Eating Sloth,
Gang Starr,
Beasts of Bourbon,
The Fuzztones,
Public Image Ltd.,
Flamin' Groovies,
The Angels of Light,
Rhythm & Sound,
Idris Muhammad,
The Music Machine,
Bootsy Collins,
Lou Reed & John Cale,
DNA,
Jandek,
Bob Dylan,
Alphaville,
Bang On A Can,
Metal Thangz,
Unwound,
Ultravox,
Shuggie Otis,
The Victims,
Pharoah Sanders,
Lou Reed,
Scratch Acid,
Con Funk Shun,
Carl Craig,
Minny Pops,
Agitation Free,
Pierre Henry,
X-101,
The Men They Couldn't Hang,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.