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 Austria and from Copenhagen.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 John Lydon to the jazz 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 Model 500. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal dance 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 a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Fat Boys,
Ludus,
Vladislav Delay,
The Detroit Cobras,
Alice Coltrane,
Arthur Verocai,
Simply Red,
Amon Düül,
Loose Ends,
the Sonics,
Terrestrial Tones,
Ultimate Spinach,
Major Organ And The Adding Machine,
Alton Ellis,
Swell Maps,
Gong,
The Gladiators,
Sam Rivers,
Kevin Saunderson,
Pet Shop Boys,
Blake Baxter,
The Last Poets,
Index,
Niagra,
Junior Murvin,
Clear Light,
Fifty Foot Hose,
The Blues Magoos,
Brothers Johnson,
Funkadelic,
James Chance & The Contortions,
Sun Ra Arkestra,
The Wake,
The Monks,
Harmonia,
This Heat,
Susan Cadogan,
The Gap Band,
Q65,
The Flesh Eaters,
Oblivians,
The Kinks,
Masters at Work,
These Immortal Souls,
Pantaleimon,
Arab on Radar,
Barclay James Harvest,
X-101,
Black Bananas,
The Smoke,
Peter Gordon & Love of Life Orchestra,
The Index,
Sun Ra,
Deepchord,
Aaron Thompson,
The Toasters,
Roxette,
Grandmaster Flash and the Furious Five,
Gary Puckett & The Union Gap,
The Associates,
Oneida,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.