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 Botswana and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Seoul and Manchester.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 Al Stewart to the punk kids.
I played it at CBGB's.
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 Angry Samoans. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Curtis Mayfield record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Supertramp,
L. Decosne,
Davy DMX,
Gang Starr,
Pete Rock & C.L. Smooth,
Public Image Ltd.,
The Black Dice,
Notorious BIG live in Amsterdam,
Ice-T,
cv313,
Maleditus Sound,
Ronnie Foster,
R.M.O.,
Banda Bassotti,
Sun Ra,
Scan 7,
Nico,
The United States of America,
Reagan Youth,
Susan Cadogan,
Kurtis Blow,
Rufus Thomas,
Altered Images,
Adolescents,
China Crisis,
Delta 5,
John Coltrane,
Quando Quango,
Boogie Down Productions,
Aloha Tigers,
Sexual Harrassment,
Alton Ellis,
The Sisters of Mercy,
Spandau Ballet,
Isaac Hayes,
Severed Heads,
Shuggie Otis,
The Fortunes,
Arcadia,
Pantaleimon,
Theoretical Girls,
Television,
Monolake,
Pet Shop Boys,
John Foxx,
Skaos,
Terrestrial Tones,
Clear Light,
Kayak,
Marine Girls,
Thompson Twins,
Amon Düül II,
The Divine Comedy,
Sunsets and Hearts,
Beasts of Bourbon,
Heavy D & The Boyz,
The Pop Group,
The Birthday Party,
The Fire Engines,
Dennis Brown,
Mission of Burma,
Newcleus,
John Holt, John Holt, John Holt, John Holt.
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.