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 Ivory Coast and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Calgary and Winnipeg.
I'm losing my edge to the art-school Woodstock 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 rhodes 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 Camron Feat. Jay Z And Juelz 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 Excepter. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Glenn Branca 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
The Standells,
Sparks,
Kerri Chandler,
Morten Harket,
Qualms,
Art Ensemble Of Chicago,
Lakeside,
The Neon Judgement,
E-Dancer,
Pussy Galore,
John Lydon,
Jimmy McGriff,
Deepchord,
The Victims,
Kerrie Biddell,
Marmalade,
The Fall,
The Count Five,
The Slackers,
Rotary Connection,
Soulsonic Force,
Au Pairs,
Moebius,
Lebanon Hanover,
Avey Tare & Kría Brekkan,
the Association,
De La Soul & Jungle Brothers,
Barclay James Harvest,
Brick,
Robert Görl,
Black Moon,
Dave Gahan,
The Wake,
Chris & Cosey,
Rosa Yemen,
Sun Ra Arkestra,
Excepter,
Kaleidoscope,
Peter Gordon & Love of Life Orchestra,
Grey Daturas,
The Mummies,
Swans,
Jawbox,
The Fuzztones,
Yellowson,
Rod Modell,
Johnny Osbourne,
The Alarm Clocks,
Electric Light Orchestra,
Mission of Burma,
June of 44,
Jeru the Damaja,
Matthew Bourne,
Second Layer,
Schoolly D,
Fluxion,
Jeff Lynne,
Aaron Thompson,
Fort Wilson Riot,
The Motions, The Motions, The Motions, The Motions.
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.