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 Honduras and from Lagos.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Lille and Lyon.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Bad Manners to the disco kids.
I played it at Trash.
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 Lou Reed & Metallica. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Jawbox 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Chris & Cosey,
The Leaves,
Symarip,
Soul Sonic Force,
Scion,
The Invisible,
Crooked Eye,
Yaz,
Rahsaan Roland Kirk,
The American Breed,
Howard Jones,
Gary Puckett & The Union Gap,
Jesper Dahlback,
Davy DMX,
David Bowie,
Rhythm & Sound,
The Tremeloes,
Liaisons Dangereuses,
Carl Craig,
The Fire Engines,
Tropical Tobacco,
Glenn Branca,
Funky Four + One,
Neil Young & Crazy Horse,
Pere Ubu,
the Swans,
Heaven 17,
Rekid,
Mantronix,
Sandy B,
8 Eyed Spy,
Cameo,
Wasted Youth,
Television,
DNA,
Ronan,
Marcia Griffiths,
Malaria!,
Suicide,
Lou Reed,
Ash Ra Tempel,
Black Sheep,
Eurythmics,
Cluster,
Mission of Burma,
Bizarre Inc.,
Japan,
The Mojo Men,
The Sound,
Gil Scott-Heron & Brian Jackson,
Subhumans,
Parry Music,
Index,
Rakim,
Arab on Radar,
Leonard Cohen,
Deutsch Amerikanische Freundschaft,
The New Christs,
Glambeats Corp.,
Fifty Foot Hose,
Marc Almond,
X-Ray Spex,
Clear Light,
Deepchord, Deepchord, Deepchord, Deepchord.
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.