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 Tunisia and from Woodstock.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Lille.
I'm losing my edge to the art-school Paris 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 mellotron 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 Moby Grape to the rock kids.
I played it at the Astoria.
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 Invisible. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
Nico,
Bobby Byrd,
Amon Düül II,
The Raincoats,
Nick Fraelich,
Arcadia,
Notorious Big And Bone Thugs,
Jeff Lynne,
Pharoah Sanders,
Pantytec,
Lalo Schifrin,
Crime,
Audionom,
Pharaoh Sanders and the Fire Engines,
The Alarm Clocks,
The Searchers,
Louis and Bebe Barron,
Darondo,
The Slits,
Eve St. Jones,
Newcleus,
Electric Light Orchestra,
Jerry's Kids,
Desert Stars,
Cluster,
Howard Jones,
Carl Craig,
Alton Ellis,
Toni Rubio,
Be Bop Deluxe,
Inner City,
DJ Style,
Peter & Gordon,
The Leaves,
Main Source,
Ronnie Foster,
The Durutti Column,
U.S. Maple,
Gil Scott-Heron and Jamie xx,
Bobby Sherman,
Smog,
Thinking Fellers Union Local 282,
The J.B.'s,
Harry Pussy,
the Bar-Kays,
Chris & Cosey,
Bootsy's Rubber Band,
Junior Murvin,
Pole,
Henry Cow,
Siglo XX,
Supertramp,
The Black Dice,
New Age Steppers,
Oblivians,
The Doobie Brothers,
Kayak,
Roxy Music,
Public Image Ltd.,
Alphaville,
John Coltrane,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.