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 Bangladesh and from Woodstock.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Bremen and Calgary.
I'm losing my edge to the art-school Jakarta 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 snare sounds with much patience.
I was there when Holger Czukay 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 Move to the electroclash 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 Essential Logic. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Stiv Bators 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 '70s cut and another box set from the '90s.
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 Oppenheimer Analysis record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Eddi Front,
Kool Moe Dee,
Vladislav Delay,
Stockholm Monsters,
Slick Rick,
The Blues Magoos,
Tommy Roe,
Soulsonic Force,
Colin Newman,
Matthew Halsall,
Desert Stars,
Unrelated Segments,
The Fugs,
Mantronix,
Lucky Dragons,
Isaac Hayes,
Lebanon Hanover,
Japan,
Davy DMX,
Pylon,
The Beau Brummels,
Rhythm & Sound,
Thompson Twins,
James White and The Blacks,
Buzzcocks,
Charles Mingus,
Tim Buckley,
The Martian,
Echo & the Bunnymen,
Public Image Ltd.,
This Heat,
Swans,
DNA,
Robert Hood,
Hot Snakes,
Slave,
Ronnie Foster,
Country Joe & The Fish,
Max Romeo,
The J.B.'s,
Quantec,
Bill Near,
The Motions,
The Divine Comedy,
Sandy B,
Dave Gahan,
Man Eating Sloth,
Angels of Light & Akron/Family,
The Seeds,
The Doobie Brothers,
the Normal,
Monolake,
Dual Sessions,
Smog,
Selector Dub Narcotic,
Symarip,
Barry Ungar,
Suburban Knight,
Cameo,
Roy Ayers Ubiquity,
Gong,
Mandrill, Mandrill, Mandrill, Mandrill.
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.