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 Israel and from Delhi.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Milan and New York.
I'm losing my edge to the art-school Woodstock 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 808 sounds with much patience.
I was there when Lou Reed 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 Rekid to the crunk 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 Oneida. All the underground hits.
All Crispian St. Peters 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 funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a MC5 record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Bizarre Inc.,
The Leaves,
Roxette,
Alphaville,
Letta Mbulu,
Slave,
Tres Demented,
Bad Manners,
Camouflage,
OOIOO,
Unwound,
Minutemen,
The Buckinghams,
The Star Department,
Echo & the Bunnymen,
The Associates,
Liliput,
The Gladiators,
Marine Girls,
Los Fastidios,
Kerrie Biddell,
Bauhaus,
Glenn Branca,
Al Stewart,
Ronnie Foster,
The Music Machine,
Soft Cell,
Byron Stingily,
Avey Tare,
Kaleidoscope,
Pantytec,
Panda Bear,
Jandek,
Fifty Foot Hose,
Grauzone,
Interpol,
Ultimate Spinach,
De La Soul & Jungle Brothers,
Boz Scaggs,
The American Breed,
DJ Style,
Dave Gahan,
Dark Day,
Eurythmics,
Vainqueur,
The Fugs,
Rosa Yemen,
Oneida,
Roxy Music,
Joe Finger,
The Neon Judgement,
Girls At Our Best!,
Sly & The Family Stone,
Steve Hackett,
Wighnomy Brothers & Robag Wruhme,
Unrelated Segments,
Ken Boothe,
Sun City Girls,
The Motions,
Andrew Ashong & Theo Parrish,
Index, Index, Index, Index.
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.