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 Guyana and from London.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1963 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
I'm losing my edge to the art-school Spokane 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 rhodes 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 The Names to the techno kids.
I played it at Trash.
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 Moss Icon. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
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 Mandrill record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Public Image Ltd.,
Flash Fearless,
Teenage Jesus and the Jerks,
Vaughan Mason & Crew,
Ash Ra Tempel,
Nas,
Louis and Bebe Barron,
Ultra Naté,
Average White Band,
Aloha Tigers,
the Normal,
Soft Cell,
Camouflage,
Kango’s Stein Massive,
Mr. Review,
Fad Gadget,
Deakin,
Freddie Wadling,
Grey Daturas,
Jandek,
Angry Samoans,
Los Fastidios,
The Beau Brummels,
Derrick May,
Todd Terry,
Underground Resistance,
Gastr Del Sol,
This Heat,
Sun Ra Arkestra,
Thee Headcoats,
The J.B.'s,
Cheater Slicks,
Urselle,
Marc Almond,
Idris Muhammad,
Mad Mike,
Howard Jones,
Gerry Rafferty,
Black Pus,
Black Sheep,
The Pretty Things,
Brass Construction,
Animal Collective,
Black Bananas,
Byron Stingily,
The Vogues,
John Foxx,
The Star Department,
The Blackbyrds,
Dorothy Ashby,
Mantronix,
Boz Scaggs,
Guru Guru,
The Fugs,
Angels of Light & Akron/Family,
China Crisis,
Sad Lovers and Giants,
Absolute Body Control,
Orchestral Manoeuvres in the Dark,
Strawberry Alarm Clock,
The Count Five, The Count Five, The Count Five, The Count Five.
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.