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 Singapore and from Madrid.
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 1977.
I'm losing my edge.
To all the kids in Lyon and Salvador.
I'm losing my edge to the art-school Houston 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Gang Green to the rap 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 The United States of America. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Jimmy McGriff,
ABC,
La Düsseldorf,
Marc Romboy vs. Booka Shade,
The Victims,
Radiohead,
Arthur Verocai,
Tom Boy,
48th St. Collective,
Judy Mowatt,
Dorothy Ashby,
James White and The Blacks,
ABBA,
Howard Jones,
Joe Finger,
The Blackbyrds,
Pussy Galore,
Yazoo,
the Slits,
Jandek,
Piero Umiliani,
Freddie Wadling,
Marcia Griffiths,
The Tremeloes,
Fifty Foot Hose,
Carl Craig,
Kerri Chandler,
Jerry's Kids,
Monolake,
Little Man,
Crispian St. Peters,
Hardrive,
Essential Logic,
Barbara Tucker,
Drexciya,
Max Romeo,
David McCallum,
Das Ding,
Nas,
Suburban Knight,
In Retrospect,
Can,
Y Pants,
the Germs,
Mandrill,
Jerry Gold Smith,
Sound Behaviour,
Minor Threat,
Lou Reed & John Cale,
8 Eyed Spy,
the Sonics,
Procol Harum,
Nico,
FM Einheit,
Section 25,
K-Klass,
Vaughan Mason & Crew,
Unrelated Segments,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.