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 Bahrain and from Beijing.
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 1978.
I'm losing my edge.
To all the kids in Manila and Accra.
I'm losing my edge to the art-school Stockholm 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer 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 Lyres 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 The Slackers. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Masters at Work,
Spandau Ballet,
X-102,
Isaac Hayes,
The Litter,
Rahsaan Roland Kirk,
The Martian,
Jesper Dahlback,
Chrome,
Groovy Waters,
Angels of Light & Akron/Family,
Basic Channel,
Liaisons Dangereuses,
New York Dolls,
Silicon Teens,
Audionom,
Scratch Acid,
Ornette Coleman,
Smog,
Sonny Sharrock,
The Sonics,
ABC,
OOIOO,
The Blues Magoos,
Marvin Gaye,
Stiv Bators,
John Lydon,
Eric B and Rakim,
One Last Wish,
Interpol,
London Community Gospel Choir,
Sandy B,
Ken Boothe,
The Music Machine,
The Raincoats,
Leonard Cohen,
Moebius,
the Bar-Kays,
Agent Orange,
The Buckinghams,
DNA,
Kauko Röyhkä ja Narttu,
a-ha,
The Trojans,
Lou Christie,
Cabaret Voltaire,
Warsaw,
Connie Case,
The Men They Couldn't Hang,
Radiohead,
Henry Cow,
The Saints,
Gong,
JFA,
Make Up,
Dark Day,
Crash Course in Science,
Ajijia Myrayebe,
Nik Kershaw,
Harpers Bizarre,
Yazoo,
The Cramps, The Cramps, The Cramps, The Cramps.
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.