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 Nauru and from Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Beijing.
I'm losing my edge to the art-school Lille 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar sounds with much patience.
I was there when Holger Czukay 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 Harpers Bizarre to the techno kids.
I played it at the Troubador.
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 Amon Düül II. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Wings 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
David McCallum,
Stetsasonic,
Big Daddy Kane,
The Mummies,
Connie Case,
Model 500,
Deadbeat,
The Residents,
The Blackbyrds,
The Chocolate Watch Band,
Johnny Clarke,
Echo & the Bunnymen,
Larry & the Blue Notes,
Oblivians,
Royal Trux,
The Blues Magoos,
Cluster,
Lou Christie,
The Velvet Underground,
Talk Talk,
Sandy B,
Qualms,
the Bar-Kays,
The Grass Roots,
Gil Scott-Heron and Jamie xx,
Mo-Dettes,
The Searchers,
The Slackers,
Yazoo,
Dawn Penn,
Warsaw,
Jesper Dahlback,
T.S.O.L.,
Soul Sonic Force,
Gang of Four,
Kool G Rap & DJ Polo,
Fear,
Spoonie Gee,
Fela Kuti,
The Moody Blues,
Jeru the Damaja,
Kango’s Stein Massive,
Major Organ And The Adding Machine,
X-102,
Icehouse,
Buzzcocks,
Rowland S Howard / Lydia Lunch,
Bob Dylan,
Rapeman,
Robert Görl,
Laurel Aitken,
Marcia Griffiths,
Hasil Adkins,
The Index,
The Seeds,
Bang On A Can,
Gil Scott-Heron & Brian Jackson,
The Saints,
The United States of America,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.