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 Belarus and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school Manila 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Martian to the electroclash 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 Moss Icon. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Joy Division,
Josef K,
Bobby Sherman,
Stetsasonic,
Warsaw,
Barrington Levy,
Alison Limerick,
Pet Shop Boys,
The Index,
Symarip,
Bush Tetras,
Slick Rick,
Technova,
Tim Buckley,
Big Daddy Kane,
Charles Mingus,
Manfred Mann's Earth Band,
Grandmaster Flash and the Furious Five,
Gang Gang Dance,
Lindisfarne,
Gichy Dan,
Quantec,
The Searchers,
Beasts of Bourbon,
Throbbing Gristle,
T.S.O.L.,
Angry Samoans,
Dual Sessions,
Hashim,
Todd Rundgren,
Interpol,
Kerrie Biddell,
Sun Ra Arkestra,
Grey Daturas,
Lower 48,
David Bowie,
Crispian St. Peters,
Gang Green,
Dark Day,
Erykah Badu,
Gastr Del Sol,
The Birthday Party,
Wighnomy Brothers & Robag Wruhme,
Scratch Acid,
Scott Walker + Sunn O))),
Eurythmics,
Ossler,
Richard Hell and the Voidoids,
AZ,
Gary Puckett & The Union Gap,
Lafayette Afro Rock Band,
the Swans,
Peter and Kerry,
The Walker Brothers,
Strawberry Alarm Clock,
Steve Hackett,
Icehouse,
Lou Reed & John Cale,
UT,
Archie Shepp,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.