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 Colombia and from Woodstock.
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 1972.
I'm losing my edge.
To all the kids in Jakarta and Shanghai.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 Television to the funk kids.
I played it at the Hacienda.
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 Fortunes. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Oblivians,
The Dead C,
FM Einheit,
Gregory Isaacs,
Section 25,
Bill Near,
Nils Olav,
The Victims,
The Saints,
The J.B.'s,
Jesper Dahlback,
The Black Dice,
Eric Dolphy,
R.M.O.,
Kas Product,
U.S. Maple,
Cabaret Voltaire,
Althea and Donna,
Man Eating Sloth,
Lou Reed & John Cale,
Joe Finger,
Procol Harum,
The Raincoats,
Unwound,
Tim Buckley,
Lindisfarne,
Vaughan Mason & Crew,
Sound Behaviour,
Accadde A,
Gichy Dan,
Make Up,
John Coltrane,
The Young Rascals,
Rapeman,
The Leaves,
Anthony Braxton,
Black Sheep,
Icehouse,
Hot Snakes,
Grandmaster Flash,
Marmalade,
Red Lorry Yellow Lorry,
Rhythm & Sound,
Joey Negro,
Hardrive,
Dark Day,
Visage,
T.S.O.L.,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Blackbyrds,
The Jesus and Mary Chain,
Jimmy McGriff,
Country Joe & The Fish,
Deakin,
Todd Rundgren,
L. Decosne,
Bobby Byrd,
Dave Gahan,
Jeff Mills,
World's Most,
Kango’s Stein Massive,
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.