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 United States and from Cairo.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin 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 Archie Shepp to the electroclash kids.
I played it at the Astoria.
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 Electric Light Orchestra. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Warren Ellis 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 '60s cut and another box set from the '90s.
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 David McCallum record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro 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?
kango's stein massive,
Liliput,
The Durutti Column,
Joensuu 1685,
the Soft Cell,
Wally Richardson,
Von Mondo,
The Knickerbockers,
Patti Smith,
Sound Behaviour,
Kauko Röyhkä ja Narttu,
Swans,
Electric Light Orchestra,
Roy Ayers,
X-Ray Spex,
Crispian St. Peters,
Procol Harum,
Gary Puckett & The Union Gap,
Can,
Graham Central Station,
Art Ensemble Of Chicago,
Maleditus Sound,
Nik Kershaw,
Faust,
Minny Pops,
Cabaret Voltaire,
Urselle,
Janne Schatter,
Niagra,
The Monochrome Set,
Essential Logic,
Bronski Beat,
David Bowie,
Nick Fraelich,
Liaisons Dangereuses,
Q65,
Spandau Ballet,
Masters at Work,
Robert Wyatt,
F. McDonald,
Little Man,
Section 25,
John Lydon,
Louis and Bebe Barron,
Rufus Thomas,
Morten Harket,
Gang Green,
Toni Rubio,
Soft Cell,
The Alarm Clocks,
Model 500,
Guru Guru,
T.S.O.L.,
Eric Dolphy,
Kenny Larkin,
B.T. Express,
The Remains,
Gang of Four,
Arthur Verocai,
Lucky Dragons,
Kings Of Tomorrow,
Gil Scott Heron,
Gil Scott-Heron & Brian Jackson,
The Cramps, The Cramps, The Cramps, The Cramps.
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.