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 the UAE and from Manchester.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 chamberlin 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 Captain Beefheart & His Magic Band to the electroclash kids.
I played it at the Spitz.
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 Flamin' Groovies. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal jazz 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 a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Mandrill,
Oneida,
Marine Girls,
Gang Starr,
John Lydon,
Yazoo,
Big Daddy Kane,
LL Cool J,
CMW,
Bizarre Inc.,
Jandek,
Rekid,
Todd Terry,
Eddi Front,
Technova,
Bootsy's Rubber Band,
Matthew Bourne,
Angels of Light & Akron/Family,
Agitation Free,
Magma,
Jerry Gold Smith,
The Sonics,
Richard Hell and the Voidoids,
The Associates,
Masters at Work,
Joe Finger,
The Alarm Clocks,
Qualms,
Moss Icon,
Ultra Naté,
Bronski Beat,
Sound Behaviour,
the Soft Cell,
Gian Franco Pienzio,
Rahsaan Roland Kirk,
Blancmange,
Yusef Lateef,
Liliput,
Freddie Wadling,
Idris Muhammad,
Lee Hazlewood,
Teenage Jesus and the Jerks,
Malaria!,
The Detroit Cobras,
Albert Ayler,
Peter Gordon & Love of Life Orchestra,
X-102,
Gang Gang Dance,
Glenn Branca,
Pharoah Sanders,
Sister Nancy,
Wasted Youth,
Swell Maps,
The Birthday Party,
The Royal Family And The Poor,
Deakin,
The Neon Judgement,
Black Moon,
Television,
James White and The Blacks,
The Smiths,
Hashim, Hashim, Hashim, Hashim.
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.