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 Togo and from Cairo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Beijing.
I'm losing my edge to the art-school Portland 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the sitar 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 Ponytail to the rap kids.
I played it at the Roxy.
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 Unrelated Segments. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Sly & The Family Stone,
Glenn Branca,
Agent Orange,
Michelle Simonal,
Sad Lovers and Giants,
Bizarre Inc.,
Juan Atkins,
Captain Beefheart & His Magic Band,
Sugar Minott,
Graham Central Station,
Joy Division,
The Raincoats,
Sam Rivers,
Alton Ellis,
Lee Hazlewood,
Freddie Wadling,
Siouxsie and the Banshees,
DNA,
Junior Murvin,
Underground Resistance,
Ash Ra Tempel,
Idris Muhammad,
Glambeats Corp.,
Lower 48,
The Doors,
A Certain Ratio,
Smog,
Lyres,
The Seeds,
Alison Limerick,
the Normal,
The Gories,
The Tremeloes,
Donny Hathaway,
Q and Not U,
JFA,
Gang Green,
Fifty Foot Hose,
Patti Smith,
Country Teasers,
K-Klass,
Lizzy Mercier Descloux,
Amazonics,
Scratch Acid,
Blancmange,
Delon & Dalcan,
Bob Dylan,
The Electric Prunes,
Japan,
Roy Ayers Ubiquity,
H. Thieme,
Marcia Griffiths,
The Dave Clark Five,
The J.B.'s,
Ultravox,
Marshall Jefferson,
Pussy Galore,
Soul Sonic Force,
The Birthday Party,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.