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 Germany and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Madrid and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Public Enemy to the electroclash kids.
I played it at the Troubador.
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 Ajijia Myrayebe. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal grunge 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Godley & Creme,
Lee Hazlewood,
The Barracudas,
Public Image Ltd.,
Howard Jones,
Sandy B,
Black Pus,
The Birthday Party,
Los Fastidios,
John Coltrane,
Cymande,
New York Dolls,
Bill Wells,
N.O.R.E. Featuring Pharrell,
Section 25,
Sound Behaviour,
Fear,
Larry & the Blue Notes,
Country Teasers,
Morten Harket,
Boz Scaggs,
Sly & The Family Stone,
DNA,
Easy Going,
Sun Ra Arkestra,
Loose Ends,
Joe Smooth,
The Doors,
The Slackers,
Steve Hackett,
Pharaoh Sanders and the Fire Engines,
The New Christs,
Dead Boys,
Jandek,
Oblivians,
Neu!,
Colin Newman,
The Detroit Cobras,
Ultra Naté,
Sarah Menescal,
Sonny Sharrock,
Althea and Donna,
Brothers Johnson,
Junior Murvin,
Marc Romboy vs. Booka Shade,
Jesper Dahlbäck,
Harmonia,
Marshall Jefferson,
Warren Ellis,
Soul II Soul,
Mr. Review,
Terrestrial Tones,
Swell Maps,
Connie Case,
The Walker Brothers,
Blake Baxter,
PIL,
Royal Trux,
The Fuzztones,
The Fire Engines,
Sixth Finger,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.