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 Saudi Arabia and from Johannesburg.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Stockholm 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 1975 at the first Throbbing Gristle practice in a loft in London.
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 Eurythmics to the funk 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 Dead Boys. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
The Walker Brothers,
Pantaleimon,
Sly & The Family Stone,
Eden Ahbez,
Fluxion,
Peter and Kerry,
Orchestral Manoeuvres in the Dark,
Lucky Dragons,
Ken Boothe,
Technova,
Jesper Dahlbäck,
The Young Rascals,
Lungfish,
The Sound,
X-Ray Spex,
Vladislav Delay,
U.S. Maple,
James White and The Blacks,
Kerrie Biddell,
The Buckinghams,
Man Eating Sloth,
The Techniques,
David Bowie,
Duran Duran,
T.S.O.L.,
The Fuzztones,
The Sonics,
T. Rex,
A Flock of Seagulls,
Juan Atkins,
Glenn Branca,
Frankie Knuckles,
Agitation Free,
Joey Negro,
Robert Görl,
Chris & Cosey,
Jawbox,
Manfred Mann's Earth Band,
Lee Hazlewood,
Steve Hackett,
Pylon,
a-ha,
The Searchers,
Nils Olav,
Marvin Gaye,
Eric Copeland,
Aswad,
Lakeside,
Icehouse,
Freddie Wadling,
Wighnomy Brothers & Robag Wruhme,
Moebius,
OOIOO,
Hasil Adkins,
Maurizio,
Sight & Sound,
Electric Light Orchestra,
Sound Behaviour,
Intrusion, Intrusion, Intrusion, Intrusion.
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.