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 Nicaragua and from Madrid.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 synthesizer 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 Marvin Gaye to the rap kids.
I played it at Trash.
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 The Gun Club. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Laurel Aitken 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
The Flesh Eaters,
Siouxsie and the Banshees,
Flamin' Groovies,
Banda Bassotti,
The Zeros,
Thompson Twins,
Aloha Tigers,
Drexciya,
Major Organ And The Adding Machine,
Skriet,
Alison Limerick,
Parry Music,
Amazonics,
Gichy Dan,
Organ,
Second Layer,
Oppenheimer Analysis,
Metal Thangz,
Max Romeo,
Amon Düül II,
Interpol,
Stetsasonic,
Dorothy Ashby,
The Victims,
Aural Exciters,
The Sound,
Inner City,
X-101,
Marcia Griffiths,
The United States of America,
Von Mondo,
Radiopuhelimet,
Barclay James Harvest,
Peter & Gordon,
Drive Like Jehu,
June Days,
Can,
Althea and Donna,
D'Angelo,
The Monks,
Masters at Work,
Marc Almond,
Brick,
Tres Demented,
Make Up,
Ornette Coleman,
Moss Icon,
kango's stein massive,
Khruangbin,
Faraquet,
Spandau Ballet,
Jimmy McGriff,
Richard Hell and the Voidoids,
Section 25,
Chris Corsano,
The Fall,
Gang Green,
The Chocolate Watch Band,
The Music Machine,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.