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 Marshall Islands and from Philadelphia.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1967 to 1970.
I'm losing my edge.
To all the kids in Milan and London.
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 oboe 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 Kerri Chandler 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 Brick. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every the Normal record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
One Last Wish,
Wolf Eyes,
Pylon,
Sparks,
Rites of Spring,
Henry Cow,
A Flock of Seagulls,
Bobbi Humphrey,
Wasted Youth,
The Names,
Bad Manners,
The Kinks,
Gong,
Chris & Cosey,
Marmalade,
London Community Gospel Choir,
Accadde A,
Rowland S Howard / Lydia Lunch,
KRS-One,
Erykah Badu,
Todd Terry,
The Sound,
Michelle Simonal,
Wire,
Eric Dolphy,
Ohio Players,
Chris Corsano,
Ronnie Foster,
The Black Dice,
Moby Grape,
Basic Channel,
Cymande,
Notorious BIG live in Amsterdam,
Richard Hell and the Voidoids,
Guru Guru,
Sly & The Family Stone,
Hashim,
Kurtis Blow,
Electric Light Orchestra,
Section 25,
The Flesh Eaters,
Erasure,
Joensuu 1685,
Deepchord,
Ultravox,
the Fania All-Stars,
The Pop Group,
Essential Logic,
The Electric Prunes,
Lyres,
Red Lorry Yellow Lorry,
Swell Maps,
Q65,
Hasil Adkins,
The Slackers,
The Evens,
Selector Dub Narcotic,
Ash Ra Tempel,
Tubeway Army,
Aloha Tigers,
L. Decosne,
The United States of America,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.