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 Yemen and from Calgary.
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 1979.
I'm losing my edge.
To all the kids in Accra and New York.
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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord 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 Bootsy Collins to the punk kids.
I played it at the Spitz.
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 Bootsy Collins. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your linndrum and bought a theremin.
I hear that you and your band have sold your theremin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Ultravox,
Los Fastidios,
Desert Stars,
Gil Scott-Heron and Jamie xx,
Rowland S Howard / Lydia Lunch,
Cybotron,
June Days,
The Residents,
Spandau Ballet,
The Associates,
China Crisis,
Rakim,
Pagans,
AZ,
Deutsch Amerikanische Freundschaft,
Minny Pops,
Underground Resistance,
Massinfluence,
Severed Heads,
Roy Ayers Ubiquity,
The Skatalites,
the Swans,
Oneida,
Electric Light Orchestra,
Audionom,
Electric Prunes,
Jesper Dahlback,
Organ,
Thee Headcoats,
Stockholm Monsters,
Joyce Sims,
Hardrive,
The Last Poets,
Notorious Big And Bone Thugs,
Howard Jones,
Y Pants,
Suburban Knight,
Ralphi Rosario,
Essential Logic,
The Standells,
Jacques Brel,
Aloha Tigers,
Blancmange,
Rufus Thomas,
Barclay James Harvest,
Marine Girls,
Terrestrial Tones,
Young Marble Giants,
Ken Boothe,
The Kinks,
Adolescents,
Fort Wilson Riot,
Stereo Dub,
Jacob Miller,
Pet Shop Boys,
Section 25,
The Slits,
The West Coast Pop Art Experimental Band,
Letta Mbulu,
Quando Quango,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.