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 Bosnia Herzegovina and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Beijing and Winnipeg.
I'm losing my edge to the art-school Tehran 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 linndrum 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 Howard Jones to the punk kids.
I played it at the Crocodile.
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 Pretty Things. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every the Sonics record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Porter Ricks,
Red Lorry Yellow Lorry,
John Holt,
Quando Quango,
Michelle Simonal,
The Remains,
Circle Jerks,
Television Personalities,
Nas,
Röyhkä ja Rättö ja Lehtisalo,
Essential Logic,
Gang of Four,
Von Mondo,
Jesper Dahlbäck,
Ultravox,
Hardrive,
Frankie Knuckles,
June Days,
World's Most,
Hot Snakes,
Jerry Gold Smith,
Joensuu 1685,
John Coltrane,
The Blues Magoos,
Talk Talk,
Quadrant,
The Misunderstood,
Masters at Work,
Joyce Sims,
The Star Department,
Aaron Thompson,
Iggy Pop,
The Shadows of Knight,
Letta Mbulu,
The Alarm Clocks,
Idris Muhammad,
Alton Ellis,
Country Teasers,
Ronan,
These Immortal Souls,
Lou Reed,
Leonard Cohen,
Vaughan Mason & Crew,
Bauhaus,
The Mighty Diamonds,
Unrelated Segments,
Drive Like Jehu,
T. Rex,
the Normal,
Major Organ And The Adding Machine,
The Chocolate Watch Band,
The Evens,
Bobby Womack,
The Motions,
The Wake,
Siouxsie and the Banshees,
Mission of Burma,
Alphaville,
Ohio Players,
KRS-One,
Sonny Sharrock,
Fear,
Television, Television, Television, Television.
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.