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 New Zealand and from Accra.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Toronto 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the güiro 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 Easy Going to the grunge kids.
I played it at the 40 Watt.
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 Shuggie Otis. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every The Kinks record on German import.
I heard that you have a white label of every seminal jazz 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 oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sex Pistols record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Tom Boy,
Barry Ungar,
The Slits,
Faraquet,
John Holt,
Khruangbin,
MC5,
Notorious BIG live in Amsterdam,
Dennis Brown,
Young Marble Giants,
Intrusion,
The Cowsills,
Alice Coltrane,
Gabor Szabo,
Dave Gahan,
Fear,
Unwound,
Glenn Branca,
Circle Jerks,
Eli Mardock,
Ultravox,
Barrington Levy,
Cymande,
The Barracudas,
Television Personalities,
Pete Rock & C.L. Smooth,
Thee Headcoats,
Don Cherry,
DJ Style,
Jerry Gold Smith,
Symarip,
Guru Guru,
John Coltrane,
Mary Jane Girls,
Half Japanese,
The Mojo Men,
Bobbi Humphrey,
Mission of Burma,
Theoretical Girls,
Tears for Fears,
Dr. Dre and Snoop Doggy Dog,
Aaron Thompson,
Cybotron,
Oblivians,
Tomorrow,
Drexciya,
Pantaleimon,
Neil Young,
Archie Shepp,
Jacques Brel,
Lungfish,
The Monks,
Mandrill,
Spandau Ballet,
Deakin,
Peter Gordon & Love of Life Orchestra,
Danielle Patucci,
Soulsonic Force,
Pylon,
The Five Americans,
The Associates, The Associates, The Associates, The Associates.
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.