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 Eritrea and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Cairo and Manila.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the clarinet 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 Ultravox 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 Schoolly D. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every The Misunderstood 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your mellotron and bought an organ.
I hear that you and your band have sold your organ and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Monolake,
Half Japanese,
Rufus Thomas,
Lizzy Mercier Descloux,
Pantaleimon,
Louis and Bebe Barron,
The Slackers,
Davy DMX,
Gian Franco Pienzio,
Eyeless In Gaza,
Sight & Sound,
Alice Coltrane,
James White and The Blacks,
Ten City,
Mars,
Jesper Dahlbäck,
The Doors,
Alphaville,
Radiopuhelimet,
Jimmy McGriff,
Laurel Aitken,
Notorious Big And Bone Thugs,
Ajijia Myrayebe,
Swell Maps,
China Crisis,
Yazoo,
R.M.O.,
The Moody Blues,
Yusef Lateef,
Dark Day,
Ituana,
Sly & The Family Stone,
The Peanut Butter Conspiracy,
Carl Craig,
Fluxion,
Janne Schatter,
Alton Ellis,
Dead Boys,
Kango’s Stein Massive,
Swans,
Harmonia,
The Leaves,
Dawn Penn,
The Smiths,
Ludus,
Tres Demented,
The Slits,
the Swans,
Oppenheimer Analysis,
Man Eating Sloth,
Sad Lovers and Giants,
The Smoke,
Soft Machine,
Banda Bassotti,
Röyhkä ja Rättö ja Lehtisalo,
Lungfish,
Kerri Chandler,
The Alarm Clocks,
Arthur Verocai,
Flamin' Groovies,
AZ,
Jandek,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.