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 Swaziland and from Edmonton.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Toronto and Taipei.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin 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 Skriet to the grime 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 Livin' Joy. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Minny Pops 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Stockholm Monsters,
The United States of America,
Bronski Beat,
Crispian St. Peters,
DNA,
Chrome,
Electric Prunes,
Davy DMX,
Eddi Front,
Louis and Bebe Barron,
Andrew Ashong & Theo Parrish,
Amazonics,
Negative Approach,
Section 25,
Hot Snakes,
Andrew Hill,
Glambeats Corp.,
Ultra Naté,
Spoonie Gee,
Patti Smith,
London Community Gospel Choir,
Mandrill,
Marc Romboy vs. Booka Shade,
The Count Five,
The Fuzztones,
The Human League,
Tim Buckley,
Flamin' Groovies,
Cluster,
Graham Central Station,
Trumans Water,
Pussy Galore,
Loose Ends,
Soulsonic Force,
Blossom Toes,
Skaos,
Bluetip,
Captain Beefheart & His Magic Band,
June of 44,
John Lydon,
The Techniques,
Sex Pistols,
Wolf Eyes,
Deepchord,
Fort Wilson Riot,
Gang Gang Dance,
In Retrospect,
Art Ensemble Of Chicago,
Average White Band,
Hasil Adkins,
Ornette Coleman,
Teenage Jesus and the Jerks,
It's A Beautiful Day,
Excepter,
Brass Construction,
Avey Tare & Kría Brekkan,
Donald Byrd,
Neil Young & Crazy Horse,
Stiv Bators,
Gang of Four,
The Beau Brummels,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.