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 Georgia and from Columbus.
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 Manchester and Spokane.
I'm losing my edge to the art-school Lyon 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Make Up to the rock 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 The Slits. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Lou Reed & Metallica,
the Fania All-Stars,
Rakim,
Henry Cow,
Agitation Free,
Soft Machine,
Avey Tare,
Sister Nancy,
F. McDonald,
Television Personalities,
Janne Schatter,
New Order,
Yellowson,
Patti Smith,
Scratch Acid,
Slave,
E-Dancer,
Bauhaus,
Jacques Brel,
Funkadelic,
La Düsseldorf,
The Cowsills,
Sonny Sharrock,
Marine Girls,
Country Teasers,
Flamin' Groovies,
Desert Stars,
Crime,
This Heat,
The Sonics,
OOIOO,
Tubeway Army,
Unrelated Segments,
The Alarm Clocks,
Junior Murvin,
The Busters,
Cabaret Voltaire,
John Coltrane,
Aural Exciters,
Terrestrial Tones,
Young Marble Giants,
Bluetip,
Groovy Waters,
The New Christs,
John Foxx,
Wolf Eyes,
Heavy D & The Boyz,
Marc Almond,
Pete Rock & C.L. Smooth,
Deutsch Amerikanische Freundschaft,
Skriet,
Bush Tetras,
Black Sheep,
Eurythmics,
Derrick May,
Procol Harum,
The Pretty Things,
Porter Ricks,
Ice-T,
Excepter,
Bobby Sherman,
Maleditus Sound, Maleditus Sound, Maleditus Sound, Maleditus Sound.
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.