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 Guinea-Bissau 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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Manila 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Theoretical Girls to the punk 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 Brand Nubian. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Aaron Thompson,
Depeche Mode,
The J.B.'s,
Stereo Dub,
UT,
Symarip,
The Tremeloes,
Wally Richardson,
Animal Collective,
Saccharine Trust,
Dead Boys,
E-Dancer,
Henry Cow,
Peter & Gordon,
Andrew Ashong & Theo Parrish,
Young Marble Giants,
the Association,
Pulsallama,
Beasts of Bourbon,
The Knickerbockers,
The Associates,
Groovy Waters,
Roger Hodgson,
Echospace,
Fear,
Mantronix,
The Red Krayola,
Silicon Teens,
ABC,
It's A Beautiful Day,
The Gladiators,
The Dirtbombs,
Wasted Youth,
Art Ensemble Of Chicago,
Nik Kershaw,
The Buckinghams,
Laurel Aitken,
The Victims,
Rhythim Is Rhythim,
The New Christs,
Oppenheimer Analysis,
Scott Walker,
Tomorrow,
The Fugs,
Blancmange,
Stockholm Monsters,
Peter Gordon & Love of Life Orchestra,
Robert Görl,
Man Parrish,
Marc Romboy vs. Booka Shade,
Gong,
Eric Dolphy,
Gang Gang Dance,
The Techniques,
Pere Ubu,
The Beau Brummels,
Bluetip,
The American Breed,
Hasil Adkins,
Audionom,
Rakim,
Archie Shepp,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.