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 Germany and from Stockholm.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Winnipeg and Paris.
I'm losing my edge to the art-school Philadelphia 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin 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 Roxette to the dance kids.
I played it at Cafe Wha.
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 Pharoah Sanders. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every The Gladiators 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rites of Spring,
Chris & Cosey,
Siglo XX,
Jimmy McGriff,
D'Angelo,
Procol Harum,
the Fania All-Stars,
Althea and Donna,
Albert Ayler,
the Normal,
Joey Negro,
The Divine Comedy,
Ice-T,
Ultravox,
Roxy Music,
Pagans,
Alison Limerick,
Roy Ayers Ubiquity,
The Kinks,
Rakim,
Sun City Girls,
Sarah Menescal,
Robert Görl,
The Skatalites,
Graham Central Station,
Sister Nancy,
the Slits,
Louis and Bebe Barron,
Glambeats Corp.,
Grey Daturas,
Soulsonic Force,
Shuggie Otis,
John Holt,
The Knickerbockers,
DJ Sneak,
Jacques Brel,
David McCallum,
Scott Walker,
Underground Resistance,
Gil Scott-Heron and Jamie xx,
The Associates,
Motorama,
The Real Kids,
Lonnie Liston Smith,
Andrew Ashong & Theo Parrish,
Ultra Naté,
Boredoms,
Nik Kershaw,
Dennis Brown,
Lebanon Hanover,
Soft Machine,
Negative Approach,
Sight & Sound,
Rowland S Howard / Lydia Lunch,
The Pretty Things,
Reuben Wilson,
Notorious Big And Bone Thugs,
Man Eating Sloth,
The Standells,
Lalann,
Bobby Womack,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.