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 Guinea and from Johannesburg.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Calgary 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 The Blues Magoos to the jazz kids.
I played it at the Astoria.
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 Blossom Toes. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ken Boothe,
Ludus,
The Star Department,
Louis and Bebe Barron,
The Beau Brummels,
Lungfish,
DJ Sneak,
The Alarm Clocks,
Flash Fearless,
The Fugs,
Nick Fraelich,
The Move,
The Seeds,
Arthur Verocai,
Jacques Brel,
Main Source,
Blossom Toes,
Peter & Gordon,
Susan Cadogan,
Ponytail,
Mr. Review,
Von Mondo,
Black Pus,
The Knickerbockers,
Joensuu 1685,
Liliput,
Fat Boys,
Delon & Dalcan,
The Five Americans,
Faust,
The Victims,
London Community Gospel Choir,
Oppenheimer Analysis,
Sam Rivers,
D'Angelo,
UT,
Quadrant,
Duran Duran,
Donny Hathaway,
Tomorrow,
Unrelated Segments,
Funky Four + One,
the Sonics,
Röyhkä ja Rättö ja Lehtisalo,
Hoover,
Spandau Ballet,
Accadde A,
Rhythm & Sound,
The Flesh Eaters,
Television,
the Human League,
The Index,
Minutemen,
Radiohead,
Terrestrial Tones,
Ash Ra Tempel,
The Velvet Underground,
Lou Reed & John Cale,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.