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 Portugal and from Tokyo.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
I'm losing my edge to the art-school Houston 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Rhythm & Sound to the dance kids.
I played it at the Roxy.
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 ABC. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gichy Dan record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Jimmy McGriff,
Skarface,
Altered Images,
Icehouse,
Black Pus,
Shoche,
Röyhkä ja Rättö ja Lehtisalo,
Sam Rivers,
The Smiths,
Lower 48,
Yazoo,
the Soft Cell,
Monolake,
Outsiders,
Warren Ellis,
Spoonie Gee,
Wolf Eyes,
The Walker Brothers,
Quadrant,
The Offenders,
The Jesus and Mary Chain,
Index,
Soul Sonic Force,
The Durutti Column,
The Neon Judgement,
A Flock of Seagulls,
MDC,
The Fire Engines,
Rahsaan Roland Kirk,
The Barracudas,
Flipper,
Yaz,
Banda Bassotti,
Oppenheimer Analysis,
Piero Umiliani,
The Trojans,
Fear,
Sugar Minott,
Moss Icon,
Todd Terry,
The Detroit Cobras,
PIL,
Brass Construction,
Jeff Mills,
Boogie Down Productions,
Slave,
The Evens,
Model 500,
The Names,
Japan,
Marmalade,
Rites of Spring,
Stockholm Monsters,
The Gories,
Parry Music,
Deutsch Amerikanische Freundschaft,
Bobby Sherman,
Toni Rubio,
Swell Maps,
The Leaves,
The Martian, The Martian, The Martian, The Martian.
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.