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 Australia and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Second Layer practice in a loft in South London.
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 Teenage Jesus and the Jerks to the rock kids.
I played it at the Hacienda.
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 Black Pus. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every CMW 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your organ and bought a theremin.
I hear that you and your band have sold your theremin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Monks,
Moss Icon,
Manfred Mann's Earth Band,
The Slits,
Nick Fraelich,
Captain Beefheart & His Magic Band,
The Fortunes,
Althea and Donna,
Harry Pussy,
Quadrant,
Delon & Dalcan,
Accadde A,
Country Joe & The Fish,
Eli Mardock,
Gian Franco Pienzio,
Arab on Radar,
Rahsaan Roland Kirk,
Depeche Mode,
cv313,
Gabor Szabo,
Roxy Music,
H. Thieme,
Jerry Gold Smith,
Pete Rock & C.L. Smooth,
Mr. Review,
Tears for Fears,
The Detroit Cobras,
The Leaves,
Goldenarms,
Morten Harket,
Ludus,
Urselle,
Dorothy Ashby,
Blancmange,
Royal Trux,
Tom Boy,
Minny Pops,
Juan Atkins,
The Gun Club,
Ornette Coleman,
Shoche,
the Human League,
Nils Olav,
Heaven 17,
The Smiths,
Buzzcocks,
Banda Bassotti,
Magma,
Howard Jones,
Cabaret Voltaire,
Scientists,
The Shadows of Knight,
The Dead C,
Television Personalities,
The Monochrome Set,
Agent Orange,
Dave Gahan,
Deutsch Amerikanische Freundschaft,
Sunsets and Hearts,
Infiniti,
Khruangbin,
Gong,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.