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 Marshall Islands and from Toronto.
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 1969 to 1975.
I'm losing my edge.
To all the kids in London and Delhi.
I'm losing my edge to the art-school Houston 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 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 Aaron Thompson to the rap kids.
I played it at the Crocodile.
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 Lou Reed & John Cale. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Johnny Osbourne 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Desert Stars,
Red Lorry Yellow Lorry,
Pantaleimon,
Rhythm & Sound,
Graham Central Station,
Thee Headcoats,
Eyeless In Gaza,
Suburban Knight,
Eric Dolphy,
Visage,
Basic Channel,
Tom Boy,
Spoonie Gee,
Kerri Chandler,
Gichy Dan,
Aswad,
Sunsets and Hearts,
Todd Terry,
Jerry Gold Smith,
Eli Mardock,
Quadrant,
Suicide,
Eve St. Jones,
Soft Machine,
Bill Wells,
The Zeros,
Tommy Roe,
Henry Cow,
Soul II Soul,
Gang Green,
The Moody Blues,
Lightning Bolt,
Roger Hodgson,
The Fuzztones,
Rosa Yemen,
Buzzcocks,
The Sisters of Mercy,
Loose Ends,
Excepter,
Qualms,
The Peanut Butter Conspiracy,
Joy Division,
Hoover,
Spandau Ballet,
Magma,
MDC,
Brass Construction,
Nico,
Liliput,
Mad Mike,
John Holt,
Cecil Taylor,
Marmalade,
Lou Reed & John Cale,
Todd Rundgren,
Danielle Patucci,
Byron Stingily,
Sugar Minott,
Flamin' Groovies,
David Axelrod,
Stiv Bators,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.