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 Luxembourg and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and London.
I'm losing my edge to the art-school Salvador 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 Ubu practice in a loft in Cleveland.
I was working on the organ sounds with much patience.
I was there when David Bowie 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 The Doors to the grunge 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 Minor Threat. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Iggy Pop 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Lungfish,
Electric Light Orchestra,
Altered Images,
Black Bananas,
Spandau Ballet,
Gerry Rafferty,
Simply Red,
Technova,
K-Klass,
Fluxion,
The Selecter,
Yellowson,
Danielle Patucci,
X-Ray Spex,
Tres Demented,
Lonnie Liston Smith,
Kool Moe Dee,
Althea and Donna,
Maurizio,
Dark Day,
Funkadelic,
The Wake,
Yazoo,
Susan Cadogan,
Johnny Osbourne,
Gregory Isaacs,
Fifty Foot Hose,
Pet Shop Boys,
MDC,
Nils Olav,
The Busters,
The Searchers,
Lalann,
Crime,
The Five Americans,
Jacob Miller,
Bootsy Collins,
Motorama,
Charles Mingus,
The Victims,
The Men They Couldn't Hang,
Cecil Taylor,
Soul Sonic Force,
Nik Kershaw,
Lou Reed,
Sex Pistols,
U.S. Maple,
Royal Trux,
The Evens,
It's A Beautiful Day,
Tears for Fears,
Boredoms,
Niagra,
Bobby Byrd,
Banda Bassotti,
Barbara Tucker,
AZ,
Angry Samoans,
the Soft Cell,
Pulsallama,
Das Ding,
Babytalk, Babytalk, Babytalk, Babytalk.
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.