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 Turkey and from Mexico City.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Toronto and Portland.
I'm losing my edge to the art-school Shanghai 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the rhodes 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 Eyeless In Gaza to the electroclash 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 Lucky Dragons. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Amon Düül,
Sun Ra,
The Tremeloes,
Gian Franco Pienzio,
Moebius,
Matthew Bourne,
Jesper Dahlbäck,
Unwound,
Lakeside,
Eric Dolphy,
Scrapy,
the Soft Cell,
CMW,
The Techniques,
The Victims,
The Grass Roots,
Con Funk Shun,
Albert Ayler,
Soulsonic Force,
Flipper,
the Sonics,
Skarface,
Johnny Clarke,
Letta Mbulu,
Marshall Jefferson,
Crispy Ambulance,
The Mummies,
Los Fastidios,
Tim Buckley,
Cal Tjader,
The Count Five,
Moby Grape,
The Saints,
Soft Machine,
Bobby Byrd,
Kas Product,
Black Pus,
The Fuzztones,
Janne Schatter,
Sparks,
These Immortal Souls,
Sad Lovers and Giants,
Quantec,
Desert Stars,
The Doobie Brothers,
It's A Beautiful Day,
The Martian,
Gang of Four,
The United States of America,
the Association,
Kango’s Stein Massive,
Black Bananas,
Fat Boys,
The Seeds,
Bauhaus,
Stereo Dub,
Don Cherry,
Richard Hell and the Voidoids,
PIL,
Grandmaster Flash and the Furious Five,
Motorama, Motorama, Motorama, Motorama.
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.