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 Solomon Islands and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Houston 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 spring reverb 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 Spandau Ballet to the funk 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 Fugazi. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Gichy Dan 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Intrusion,
John Foxx,
Reuben Wilson,
The Selecter,
D'Angelo,
Peter and Kerry,
Pylon,
Bang On A Can,
Gang of Four,
Country Teasers,
Echo & the Bunnymen,
H. Thieme,
Oneida,
Andrew Ashong & Theo Parrish,
The J.B.'s,
The Music Machine,
Black Flag,
The Sound,
The Standells,
Teenage Jesus and the Jerks,
Soulsonic Force,
Lizzy Mercier Descloux,
Sly & The Family Stone,
Liliput,
Surgeon,
Warsaw,
cv313,
Livin' Joy,
the Soft Cell,
Yazoo,
Joyce Sims,
Robert Hood,
Crime,
Susan Cadogan,
Babytalk,
Grandmaster Flash and the Furious Five,
Pet Shop Boys,
Jacob Miller,
Pagans,
Bang on a Can All-Stars,
The American Breed,
Warren Ellis,
The Fire Engines,
Andrew Hill,
Jandek,
Agitation Free,
Peter Gordon & Love of Life Orchestra,
Jacques Brel,
Absolute Body Control,
Pulsallama,
Lungfish,
LL Cool J,
Joe Finger,
Soul II Soul,
Gil Scott-Heron and Jamie xx,
Delon & Dalcan,
Silicon Teens,
Arthur Verocai,
Joy Division,
Kerri Chandler,
Anthony Braxton,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.