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 Winnipeg.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Columbus and Spokane.
I'm losing my edge to the art-school Copenhagen 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 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 Tim Buckley 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 Harry Pussy. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Jeru the Damaja,
H. Thieme,
Tommy Roe,
Albert Ayler,
The West Coast Pop Art Experimental Band,
Roxette,
Audionom,
Eddi Front,
Ralphi Rosario,
Simply Red,
Grandmaster Flash and the Furious Five,
Ten City,
John Lydon,
the Slits,
Sight & Sound,
Lou Christie,
The Young Rascals,
Gang Starr,
Slick Rick,
The Men They Couldn't Hang,
The Offenders,
Newcleus,
David McCallum,
Byron Stingily,
One Last Wish,
Johnny Osbourne,
Marc Almond,
Sex Pistols,
Terrestrial Tones,
Faust,
The Happenings,
Eli Mardock,
Depeche Mode,
The Zeros,
Letta Mbulu,
Brand Nubian,
Art Ensemble Of Chicago,
Minor Threat,
Boz Scaggs,
The Black Dice,
Wasted Youth,
Ronnie Foster,
Joe Finger,
Eric Dolphy,
Tres Demented,
Cluster,
Lightning Bolt,
Crime,
Todd Rundgren,
Frankie Knuckles,
Bootsy Collins,
Gerry Rafferty,
Skriet,
Amon Düül,
Buzzcocks,
Fear,
Anthony Braxton,
Moby Grape,
Kango’s Stein Massive,
Angry Samoans,
FM Einheit, FM Einheit, FM Einheit, FM Einheit.
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.