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 Colombia 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 1969 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Johannesburg.
I'm losing my edge to the art-school Lille 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 guitar 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 Liliput to the grime 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 Fatback Band. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba 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 Victims,
Ronnie Foster,
Nick Cave & The Bad Seeds,
Q and Not U,
The Gladiators,
The Gun Club,
The Men They Couldn't Hang,
The Fall,
The Golliwogs,
Matthew Bourne,
Agitation Free,
The Residents,
Louis and Bebe Barron,
Model 500,
The American Breed,
Jesper Dahlback,
Visage,
Main Source,
Michelle Simonal,
Jeff Lynne,
The Cure,
The Barracudas,
Sunsets and Hearts,
The Slackers,
Kool Moe Dee,
Adolescents,
Jacques Brel,
Slick Rick,
Whodini,
Sad Lovers and Giants,
Gregory Isaacs,
Black Bananas,
Pierre Henry,
Quantec,
The J.B.'s,
Crooked Eye,
Inner City,
Dead Boys,
The Wake,
Blake Baxter,
The Motions,
The Happenings,
Youth Brigade,
Sun Ra,
Sixth Finger,
The Move,
Yaz,
Little Man,
Minor Threat,
Scott Walker,
Rotary Connection,
Jeff Mills,
Nirvana,
48th St. Collective,
Moby Grape,
Mad Mike,
Blancmange,
Stereo Dub,
The Beau Brummels,
Ash Ra Tempel,
Cecil Taylor,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.