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 Bangladesh and from New York.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
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 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 Lou Reed 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 Buzzcocks 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 Brick. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Blossom Toes 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 '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Slick Rick,
Camberwell Now,
Masters at Work,
Massinfluence,
Sound Behaviour,
Byron Stingily,
Black Sheep,
Zapp,
Freddie Wadling,
Dennis Brown,
The Monks,
Pylon,
Gang of Four,
The Smiths,
Pere Ubu,
Fluxion,
Ituana,
Ken Boothe,
Arthur Verocai,
The Smoke,
Peter & Gordon,
Stockholm Monsters,
Chrome,
Agitation Free,
It's A Beautiful Day,
Minutemen,
Animal Collective,
Derrick Morgan,
Sarah Menescal,
The Red Krayola,
Country Teasers,
Soft Machine,
Von Mondo,
Maleditus Sound,
Ohio Players,
Lebanon Hanover,
Brick,
The Motions,
Captain Beefheart & His Magic Band,
Blancmange,
the Bar-Kays,
Bizarre Inc.,
Ronnie Foster,
Cabaret Voltaire,
KRS-One,
Man Eating Sloth,
Sun Ra Arkestra,
Bill Near,
Scott Walker,
Wasted Youth,
Curtis Mayfield,
Colin Newman,
Khruangbin,
Yaz,
Kas Product,
Basic Channel,
Harmonia,
Chris Corsano,
L. Decosne,
Faraquet,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.