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 Paraguay 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 1965 to 1974.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Mexico City 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 Selda practice in a loft in Istanbul.
I was working on the guitar 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 Erasure to the punk kids.
I played it at the Spitz.
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 Kinks. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal crunk 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 Joyce Sims record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Tubeway Army,
Maleditus Sound,
Dawn Penn,
Crispy Ambulance,
Joy Division,
Unwound,
Saccharine Trust,
Franke,
Das Ding,
Nico,
Jacob Miller,
The Flesh Eaters,
Don Cherry,
Toni Rubio,
The Alarm Clocks,
John Coltrane,
David Bowie,
Marshall Jefferson,
Marvin Gaye,
Wasted Youth,
Gabor Szabo,
The Victims,
Ornette Coleman,
X-102,
Unrelated Segments,
The Royal Family And The Poor,
Connie Case,
Gang Starr,
June Days,
Manfred Mann's Earth Band,
Delon & Dalcan,
Gregory Isaacs,
The Dead C,
Goldenarms,
World's Most,
Glambeats Corp.,
Sällskapet,
Vainqueur,
The Motions,
Sixth Finger,
Scan 7,
Hot Snakes,
Louis and Bebe Barron,
Dorothy Ashby,
Deakin,
Kayak,
Marcia Griffiths,
Letta Mbulu,
Röyhkä ja Rättö ja Lehtisalo,
Chris & Cosey,
Isaac Hayes,
Country Teasers,
Super Lover Cee & Casanova Rud,
Excepter,
Audionom,
Blancmange,
The Music Machine,
One Last Wish,
The Count Five,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.