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 Nigeria and from Cairo.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 The Fire Engines to the electroclash 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 Duran Duran. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every John Holt 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 '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
DNA,
Johnny Clarke,
D'Angelo,
Technova,
The Five Americans,
AZ,
Second Layer,
Henry Cow,
The Walker Brothers,
Rhythm & Sound,
Grey Daturas,
Joey Negro,
Scott Walker + Sunn O))),
Peter and Kerry,
Can,
Maleditus Sound,
The Moleskins,
Siouxsie and the Banshees,
ABC,
Babytalk,
Fear,
Bob Dylan,
Lizzy Mercier Descloux,
MC5,
Rotary Connection,
Saccharine Trust,
Freddie Wadling,
Donny Hathaway,
Country Teasers,
Roy Ayers Ubiquity,
The Neon Judgement,
Franke,
Lindisfarne,
The Offenders,
Deutsch Amerikanische Freundschaft,
David McCallum,
Dual Sessions,
T. Rex,
Brothers Johnson,
Nils Olav,
Make Up,
The Names,
Jacques Brel,
H. Thieme,
Rahsaan Roland Kirk,
Harmonia,
Joe Smooth,
The Tremeloes,
Spoonie Gee,
Sunsets and Hearts,
Shuggie Otis,
Letta Mbulu,
Desert Stars,
The Alarm Clocks,
Magazine,
The Cosmic Jokers,
The Peanut Butter Conspiracy,
Pete Rock & C.L. Smooth,
June of 44,
Newcleus,
Unrelated Segments,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.