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 Sudan and from Philadelphia.
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 1961 to 1970.
I'm losing my edge.
To all the kids in New York and Lagos.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet 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 Nico to the grime kids.
I played it at the Troubador.
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 Matthew Halsall. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every A Flock of Seagulls 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 '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
Scrapy,
Pere Ubu,
L. Decosne,
X-102,
The Dirtbombs,
Kauko Röyhkä ja Narttu,
DNA,
Barrington Levy,
Shuggie Otis,
Eli Mardock,
Jacob Miller,
Mantronix,
Teenage Jesus and the Jerks,
Neu!,
Zero Boys,
Underground Resistance,
Skarface,
Bizarre Inc.,
Crispian St. Peters,
Lebanon Hanover,
Chris & Cosey,
Dave Gahan,
Japan,
Don Cherry,
The Flesh Eaters,
cv313,
ABC,
Peter Gordon & Love of Life Orchestra,
Peter & Gordon,
John Lydon,
PIL,
The American Breed,
Television Personalities,
Jandek,
Whodini,
Roy Ayers Ubiquity,
Glambeats Corp.,
Oblivians,
Sun Ra Arkestra,
Sly & The Family Stone,
Mars,
Little Man,
The Detroit Cobras,
Joyce Sims,
Desert Stars,
Hashim,
The Electric Prunes,
Ornette Coleman,
The United States of America,
Echo & the Bunnymen,
Metal Thangz,
Dawn Penn,
The Smoke,
Terror Squad Feat. Camron,
Notorious BIG live in Amsterdam,
Lee Hazlewood,
Brass Construction,
Wire,
Altered Images,
Aaron Thompson,
The Peanut Butter Conspiracy,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.