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 Tunisia and from Portland.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school London 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 spring reverb 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 Visage to the grunge kids.
I played it at the Crocodile.
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 Cosmic Jokers. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every B.T. Express 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
Oblivians,
Harpers Bizarre,
The Cosmic Jokers,
Slick Rick,
Tim Buckley,
Lindisfarne,
Rhythm & Sound,
Matthew Bourne,
Terrestrial Tones,
Stetsasonic,
Spoonie Gee,
Matthew Halsall,
Eurythmics,
The Chocolate Watch Band,
Alphaville,
Captain Beefheart & His Magic Band,
AZ,
Flipper,
The Doobie Brothers,
Kool G Rap & DJ Polo,
Girls At Our Best!,
Urselle,
Ultimate Spinach,
Johnny Clarke,
Electric Prunes,
Alison Limerick,
Neu!,
Wolf Eyes,
The Gladiators,
The Associates,
Gabor Szabo,
Sun Ra Arkestra,
Albert Ayler,
The Zeros,
Jacques Brel,
Rod Modell,
Average White Band,
Blossom Toes,
Bobby Byrd,
One Last Wish,
Monolake,
Warsaw,
Radiopuhelimet,
The Walker Brothers,
Cecil Taylor,
DJ Style,
Davy DMX,
Roger Hodgson,
Godley & Creme,
Louis and Bebe Barron,
The Move,
Eric Dolphy,
Minnie Riperton,
Sound Behaviour,
Howard Jones,
Agitation Free,
Arcadia,
Crash Course in Science,
Barclay James Harvest,
Massinfluence,
The Flesh Eaters,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.