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 El Salvador and from Stockholm.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Madrid 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Swans to the jazz 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 Ultramagnetic MC's. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Interpol 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Spandau Ballet,
Gong,
The Knickerbockers,
Public Image Ltd.,
The Doors,
Larry & the Blue Notes,
Traffic Nightmare,
Soulsonic Force,
Robert Hood,
Janne Schatter,
ABBA,
10cc,
Eddi Front,
James White and The Blacks,
John Foxx,
Sound Behaviour,
Y Pants,
KRS-One,
Rahsaan Roland Kirk,
Justin Hinds & The Dominoes,
Tropical Tobacco,
David Axelrod,
Saccharine Trust,
The Monks,
Lower 48,
Niagra,
The Mummies,
L. Decosne,
Super Lover Cee & Casanova Rud,
Orchestral Manoeuvres in the Dark,
Yusef Lateef,
Morten Harket,
Quando Quango,
The Blackbyrds,
Marcia Griffiths,
Goldenarms,
Shoche,
Lou Reed & John Cale,
Accadde A,
Shuggie Otis,
Byron Stingily,
Rosa Yemen,
Gastr Del Sol,
Altered Images,
Toni Rubio,
Lafayette Afro Rock Band,
The Fugs,
Big Daddy Kane,
Kool Moe Dee,
Cheater Slicks,
The Cowsills,
Cluster,
Terrestrial Tones,
Q and Not U,
Oppenheimer Analysis,
the Fania All-Stars,
Yellowson,
Quantec,
the Germs,
Brass Construction,
Rufus Thomas,
Severed Heads,
OOIOO, OOIOO, OOIOO, OOIOO.
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.