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 Botswana and from Mumbai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Robert Görl to the grunge kids.
I played it at the Spitz.
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 The Motions. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ultimate Spinach record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
Jacques Brel,
Terrestrial Tones,
R.M.O.,
Tim Buckley,
The Blackbyrds,
Bobby Womack,
Marcia Griffiths,
Boogie Down Productions,
Gang Green,
Idris Muhammad,
Los Fastidios,
Lyres,
Echo & the Bunnymen,
Rhythim Is Rhythim,
Neil Young & Crazy Horse,
Vainqueur,
Lou Reed,
Lou Reed & John Cale,
Glambeats Corp.,
Barrington Levy,
Steve Hackett,
Wasted Youth,
John Lydon,
Ice-T,
Barclay James Harvest,
Minny Pops,
X-Ray Spex,
Oblivians,
Absolute Body Control,
The Doors,
London Community Gospel Choir,
Delta 5,
Danielle Patucci,
48th St. Collective,
Morten Harket,
The Shadows of Knight,
Ultramagnetic MC's,
Gastr Del Sol,
Lucky Dragons,
Davy DMX,
Angry Samoans,
Black Moon,
June Days,
Franke,
Avey Tare,
Buzzcocks,
Howard Jones,
Echospace,
Niagra,
Marc Romboy vs. Booka Shade,
Scion,
The Sound,
The Peanut Butter Conspiracy,
Alice Coltrane,
Art Ensemble Of Chicago,
The Evens,
The Velvet Underground,
DJ Sneak,
Banda Bassotti,
Crispian St. Peters,
Organ,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.