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 New Zealand and from Seoul.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Manila and Sao Paulo.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Richard Hell and the Voidoids to the punk kids.
I played it at CBGB's.
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 Crime. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Matthew Bourne 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Tim Buckley,
Selector Dub Narcotic,
China Crisis,
Supertramp,
Art Ensemble Of Chicago,
The Victims,
The Fire Engines,
Boogie Down Productions,
the Swans,
Jandek,
De La Soul & Jungle Brothers,
The Mojo Men,
Babytalk,
Qualms,
The Shadows of Knight,
L. Decosne,
The Dave Clark Five,
Sound Behaviour,
Nick Fraelich,
Delon & Dalcan,
The Detroit Cobras,
Mission of Burma,
Ludus,
Notorious Big And Bone Thugs,
James Chance & The Contortions,
Eric Dolphy,
June Days,
Byron Stingily,
Bad Manners,
The Raincoats,
The Evens,
Radiopuhelimet,
Glambeats Corp.,
Vainqueur,
Flipper,
Bizarre Inc.,
Dorothy Ashby,
Intrusion,
Lalo Schifrin,
Scrapy,
Hot Snakes,
Sam Rivers,
The Saints,
Jesper Dahlbäck,
Gil Scott-Heron & Brian Jackson,
a-ha,
Hoover,
Desert Stars,
Index,
Bobbi Humphrey,
Donny Hathaway,
Cymande,
The Human League,
Amazonics,
DeepChord presents Echospace,
Lou Christie,
The Cure,
Lou Reed & John Cale,
Spoonie Gee,
The Fortunes,
Scott Walker,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.