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 Namibia and from Glasgow.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Manila and Madrid.
I'm losing my edge to the art-school Paris 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Pylon to the rock kids.
I played it at Cafe Wha.
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 Niagra. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Shadows of Knight,
Eyeless In Gaza,
Swell Maps,
Electric Light Orchestra,
The Beau Brummels,
The Cure,
Angels of Light & Akron/Family,
The Cosmic Jokers,
Can,
Rufus Thomas,
The Sisters of Mercy,
Wighnomy Brothers & Robag Wruhme,
The New Christs,
UT,
The Velvet Underground,
AZ,
Porter Ricks,
The American Breed,
Althea and Donna,
Urselle,
A Certain Ratio,
Simply Red,
The Invisible,
John Holt,
Heavy D & The Boyz,
Suburban Knight,
Motorama,
8 Eyed Spy,
Sun Ra,
Robert Hood,
New Age Steppers,
Crooked Eye,
Lalo Schifrin,
Rapeman,
Electric Prunes,
KRS-One,
Quadrant,
James White and The Blacks,
Avey Tare's Slasher Flicks,
Barclay James Harvest,
MDC,
Sound Behaviour,
Terry Callier,
Lucky Dragons,
The United States of America,
Silicon Teens,
The Slits,
The Standells,
K-Klass,
Khruangbin,
The Real Kids,
The Young Rascals,
Tropical Tobacco,
Magazine,
The Pop Group,
Gil Scott-Heron and Jamie xx,
Theoretical Girls,
Alice Coltrane,
Orchestral Manoeuvres in the Dark,
Todd Rundgren,
The Gories, The Gories, The Gories, The Gories.
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.