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 Yemen and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Houston.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar 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 Kerri Chandler to the funk kids.
I played it at the Hacienda.
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 Lindisfarne tracks. I heard you have a vinyl of every Aaron Thompson 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra Arkestra,
Andrew Hill,
Fear,
Funky Four + One,
Vladislav Delay,
Quantec,
Big Daddy Kane,
Gang of Four,
Kenny Larkin,
Albert Ayler,
Nick Fraelich,
The Martian,
The Barracudas,
Ronan,
Basic Channel,
Gerry Rafferty,
Negative Approach,
Manfred Mann's Earth Band,
Barbara Tucker,
Jeff Mills,
MDC,
Lee Hazlewood,
Sparks,
The Victims,
Warsaw,
Angels of Light & Akron/Family,
Tears for Fears,
Spandau Ballet,
The J.B.'s,
The Invisible,
The Wake,
X-Ray Spex,
Eurythmics,
Pantytec,
Vainqueur,
It's A Beautiful Day,
A Certain Ratio,
Henry Cow,
Neu!,
Lightning Bolt,
The Men They Couldn't Hang,
Moby Grape,
Derrick Morgan,
Pantaleimon,
Joy Division,
Black Moon,
Trumans Water,
Josef K,
Rahsaan Roland Kirk,
Larry & the Blue Notes,
Sad Lovers and Giants,
Roxy Music,
The Monochrome Set,
Laurel Aitken,
Jesper Dahlbäck,
Man Parrish,
Bobby Womack,
Das Ding,
Marmalade,
Absolute Body Control,
Joyce Sims,
Maleditus Sound,
Nik Kershaw,
Wasted Youth,
The Seeds, The Seeds, The Seeds, The Seeds.
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.