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 Finland and from London.
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 1973.
I'm losing my edge.
To all the kids in Salvador and Cairo.
I'm losing my edge to the art-school Hong Kong 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 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 Grey Daturas to the jazz 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 Tremeloes. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Bootsy Collins 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
T. Rex,
The Cosmic Jokers,
The Invisible,
A Flock of Seagulls,
Gil Scott-Heron & Brian Jackson,
Magazine,
The Birthday Party,
Country Joe & The Fish,
David Bowie,
Robert Hood,
Slave,
Stiv Bators,
Lou Reed & John Cale,
Liliput,
Archie Shepp,
Yazoo,
Colin Newman,
La Düsseldorf,
JFA,
Fad Gadget,
Essential Logic,
Gichy Dan,
Soft Machine,
The Velvet Underground,
Echospace,
Laurel Aitken,
Scott Walker + Sunn O))),
John Holt,
LL Cool J,
Rhythim Is Rhythim,
PIL,
Ash Ra Tempel,
Simply Red,
Sam Rivers,
Heavy D & The Boyz,
Barry Ungar,
Reagan Youth,
Jerry Gold Smith,
Justin Hinds & The Dominoes,
Terry Callier,
Camberwell Now,
The Associates,
R.M.O.,
Ohio Players,
Siouxsie and the Banshees,
The Vogues,
Mr. Review,
Bobby Sherman,
The Knickerbockers,
Sad Lovers and Giants,
Pussy Galore,
Hardrive,
John Foxx,
Harmonia,
Suburban Knight,
Subhumans,
The Skatalites,
The Divine Comedy,
The Blackbyrds,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.