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 Kosovo and from Toronto.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Lagos and Taipei.
I'm losing my edge to the art-school Salvador 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 Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator 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 Louis and Bebe Barron to the rock 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 Guru Guru. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Japan,
Soft Cell,
Oblivians,
Scan 7,
Ash Ra Tempel,
The Mighty Diamonds,
Anakelly,
Monks,
June Days,
Donald Byrd,
Theoretical Girls,
Mad Mike,
The Angels of Light,
Albert Ayler,
Lee Hazlewood,
Bush Tetras,
Richard Hell and the Voidoids,
Ronan,
Thee Headcoats,
Lalann,
New Age Steppers,
CMW,
Radiopuhelimet,
Stockholm Monsters,
Röyhkä ja Rättö ja Lehtisalo,
Don Cherry,
Audionom,
Electric Prunes,
AZ,
Groovy Waters,
Thompson Twins,
Warsaw,
John Cale,
Ralphi Rosario,
La Düsseldorf,
Procol Harum,
E-Dancer,
Rosa Yemen,
Crispy Ambulance,
Marc Almond,
Avey Tare,
FM Einheit,
Jawbox,
The Divine Comedy,
Aural Exciters,
Slick Rick,
Angry Samoans,
Gian Franco Pienzio,
L. Decosne,
Frankie Knuckles,
The West Coast Pop Art Experimental Band,
Bauhaus,
Rites of Spring,
The Dirtbombs,
Justin Hinds & The Dominoes,
Wire,
Kerri Chandler,
Fat Boys,
Kaleidoscope,
Pulsallama,
Shoche,
Ohio Players,
Mandrill,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.