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 Marshall Islands and from Manchester.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Manchester and Lyon.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 Drive Like Jehu to the electroclash 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 Scrapy. All the underground hits.
All Television Personalities tracks. I heard you have a vinyl of every The Fuzztones record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
The Beau Brummels,
Jeff Lynne,
Oblivians,
Reagan Youth,
Steve Hackett,
Grauzone,
June of 44,
Isaac Hayes,
Interpol,
Siglo XX,
The Trojans,
This Heat,
Mo-Dettes,
Warren Ellis,
Malaria!,
Eric Copeland,
Ralphi Rosario,
Pantaleimon,
Sad Lovers and Giants,
ABC,
Graham Central Station,
Spandau Ballet,
Tres Demented,
Crooked Eye,
Saccharine Trust,
Ohio Players,
Eden Ahbez,
Kerrie Biddell,
Moebius,
Man Eating Sloth,
Captain Beefheart & His Magic Band,
Wasted Youth,
Manfred Mann's Earth Band,
The Men They Couldn't Hang,
Aswad,
Main Source,
Supertramp,
Rhythm & Sound,
DJ Sneak,
Darondo,
Teenage Jesus and the Jerks,
Angels of Light & Akron/Family,
Don Cherry,
Erykah Badu,
Intrusion,
Crash Course in Science,
Judy Mowatt,
Peter and Kerry,
the Bar-Kays,
Robert Görl,
Bob Dylan,
Arab on Radar,
Ituana,
Gang Starr,
Swans,
Little Man,
Lafayette Afro Rock Band,
Dual Sessions,
The Evens,
Symarip,
Arthur Verocai,
Hashim,
Lower 48,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.