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 Malawi and from Milan.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Tehran 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the spring reverb 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 Deepchord to the crunk kids.
I played it at Cafe Wha.
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 Los Fastidios. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Cosmic Jokers record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Thompson Twins,
Visage,
The Black Dice,
Gong,
Aaron Thompson,
Lalo Schifrin,
Reuben Wilson,
Graham Central Station,
Q and Not U,
Minnie Riperton,
Sonny Sharrock,
Stetsasonic,
Mad Mike,
Jimmy McGriff,
Bluetip,
Bobby Womack,
Hoover,
New Order,
Jesper Dahlbäck,
Eric B and Rakim,
Eddi Front,
Minutemen,
The Wake,
Arab on Radar,
Lou Reed,
Orchestral Manoeuvres in the Dark,
Nirvana,
Röyhkä ja Rättö ja Lehtisalo,
Country Joe & The Fish,
David Bowie,
The Cowsills,
Amon Düül II,
Alison Limerick,
Andrew Hill,
Unwound,
the Swans,
Kurtis Blow,
Andrew Ashong & Theo Parrish,
X-Ray Spex,
Khruangbin,
Donny Hathaway,
Cal Tjader,
Con Funk Shun,
Ornette Coleman,
Tears for Fears,
Goldenarms,
John Cale,
Lungfish,
The Dirtbombs,
Deadbeat,
Lakeside,
Rhythm & Sound,
Jawbox,
Groovy Waters,
Ice-T,
Absolute Body Control,
F. McDonald,
Todd Terry,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.