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 Bosnia Herzegovina and from New York.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Toronto and Beijing.
I'm losing my edge to the art-school Manila 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the guitar 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 Avey Tare & Kría Brekkan to the disco 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 Idris Muhammad. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Radio Birdman 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Pole,
Fluxion,
Juan Atkins,
The Busters,
Graham Central Station,
Pierre Henry,
Moss Icon,
Nas,
Stetsasonic,
The Fuzztones,
The Moleskins,
Nils Olav,
Angry Samoans,
Junior Murvin,
Funky Four + One,
the Swans,
Ultimate Spinach,
The Peanut Butter Conspiracy,
The Red Krayola,
Sugar Minott,
The Gories,
Basic Channel,
Soulsonic Force,
The Evens,
Rhythm & Sound,
Orchestral Manoeuvres in the Dark,
Q and Not U,
Underground Resistance,
The Gladiators,
Lakeside,
Josef K,
The Royal Family And The Poor,
Justin Hinds & The Dominoes,
Donny Hathaway,
Barry Ungar,
Cheater Slicks,
The Names,
The Sonics,
Crispy Ambulance,
Theoretical Girls,
The Flesh Eaters,
Black Flag,
Ultra Naté,
the Slits,
B.T. Express,
The Fugs,
Jeru the Damaja,
Brand Nubian,
Vainqueur,
Arab on Radar,
Television Personalities,
The Men They Couldn't Hang,
Surgeon,
48th St. Collective,
Public Image Ltd.,
Audionom,
Eric Copeland,
Boz Scaggs,
Tubeway Army,
Barclay James Harvest,
Quantec, Quantec, Quantec, Quantec.
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.