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 Lesotho and from Bologna.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Seoul 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Deepchord to the jazz kids.
I played it at CBGB's.
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 Ten City. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Soft Machine,
X-Ray Spex,
Janne Schatter,
Grey Daturas,
The Evens,
The Raincoats,
Richard Hell and the Voidoids,
The Pop Group,
Suicide,
Stereo Dub,
Maurizio,
Jandek,
Panda Bear,
Skriet,
The Searchers,
The Move,
The Cure,
Au Pairs,
Anthony Braxton,
Barclay James Harvest,
Buzzcocks,
EPMD,
Peter and Kerry,
the Soft Cell,
Y Pants,
the Germs,
Inner City,
The Seeds,
Quadrant,
The Names,
Rakim,
The Moody Blues,
Tropical Tobacco,
Vaughan Mason & Crew,
Public Image Ltd.,
The Smoke,
Lindisfarne,
Red Lorry Yellow Lorry,
MDC,
Masters at Work,
Alison Limerick,
Visage,
Bobby Hutcherson,
Crispian St. Peters,
The Pretty Things,
Siouxsie and the Banshees,
the Normal,
Al Stewart,
Simply Red,
Sex Pistols,
L. Decosne,
Section 25,
Deakin,
Heavy D & The Boyz,
Gastr Del Sol,
Avey Tare & Kría Brekkan,
Darondo,
Leonard Cohen,
The Star Department,
Cabaret Voltaire,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.