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 Comoros and from Beijing.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Toronto.
I'm losing my edge to the art-school Lagos 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the clarinet 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 Joe Smooth to the punk kids.
I played it at the Troubador.
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 The Cowsills. All the underground hits.
All Michelle Simonal tracks. I heard you have a vinyl of every Fluxion record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Lou Christie,
Soft Machine,
the Association,
Tim Buckley,
Donny Hathaway,
Eric Dolphy,
Howard Jones,
The Walker Brothers,
OOIOO,
Pantytec,
Smog,
Slick Rick,
The Sound,
Wighnomy Brothers & Robag Wruhme,
Laurel Aitken,
Electric Prunes,
James Chance & The Contortions,
Frankie Knuckles,
Brothers Johnson,
Siouxsie and the Banshees,
PIL,
The Monochrome Set,
Ohio Players,
The Wake,
Rapeman,
Fluxion,
Cameo,
Sly & The Family Stone,
Soul II Soul,
Camouflage,
Peter Gordon & Love of Life Orchestra,
The Saints,
Visage,
Motorama,
10cc,
Althea and Donna,
Chrome,
The Offenders,
The Alarm Clocks,
Marc Romboy vs. Booka Shade,
Reuben Wilson,
The United States of America,
Sound Behaviour,
Underground Resistance,
Tom Boy,
Nils Olav,
Surgeon,
The Tremeloes,
Gastr Del Sol,
Hashim,
Bill Near,
Con Funk Shun,
Moby Grape,
The Mummies,
Zapp,
The American Breed,
These Immortal Souls,
Deadbeat,
The Martian,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.