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 St Lucia and from Bologna.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Lagos 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Albert Ayler to the disco kids.
I played it at the Crocodile.
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 Young Marble Giants. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
10cc,
Cabaret Voltaire,
Tubeway Army,
The Smiths,
The Cosmic Jokers,
Josef K,
Hashim,
DJ Sneak,
Mr. Review,
Deutsch Amerikanische Freundschaft,
Cybotron,
Man Parrish,
John Foxx,
Thee Headcoats,
Tears for Fears,
Bobbi Humphrey,
Yazoo,
Stetsasonic,
Theoretical Girls,
The Slits,
Notorious BIG live in Amsterdam,
Dr. Dre and Snoop Doggy Dog,
Scratch Acid,
Saccharine Trust,
Max Romeo,
Godley & Creme,
Monolake,
Parry Music,
UT,
Agent Orange,
Lafayette Afro Rock Band,
Vaughan Mason & Crew,
Sexual Harrassment,
Darondo,
T.S.O.L.,
Suburban Knight,
Bob Dylan,
The Dave Clark Five,
The Count Five,
Clear Light,
World's Most,
Scott Walker,
Davy DMX,
Dual Sessions,
Pharoah Sanders,
The Gories,
Siglo XX,
Bauhaus,
Jeru the Damaja,
Eric Copeland,
Brass Construction,
Manfred Mann's Earth Band,
Gerry Rafferty,
The Sonics,
Carl Craig,
The Mummies,
Blake Baxter,
Moss Icon,
Jesper Dahlback,
The Vogues,
Sonic Youth,
Icehouse,
Popol Vuh,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.