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 Columbus.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 sitar 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 John Holt to the electroclash kids.
I played it at the Hacienda.
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 Count Five. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
China Crisis,
Gabor Szabo,
The American Breed,
Major Organ And The Adding Machine,
F. McDonald,
Magma,
The Electric Prunes,
Crispy Ambulance,
Be Bop Deluxe,
Vaughan Mason & Crew,
Selector Dub Narcotic,
Sonny Sharrock,
The Alarm Clocks,
The Zeros,
Stereo Dub,
Ultimate Spinach,
Larry & the Blue Notes,
Ultravox,
Peter Gordon & Love of Life Orchestra,
Brand Nubian,
Agent Orange,
Beasts of Bourbon,
Althea and Donna,
The Motions,
Q and Not U,
Hasil Adkins,
Scan 7,
Drexciya,
The Dave Clark Five,
Donald Byrd,
Zapp,
Aloha Tigers,
Avey Tare & Kría Brekkan,
Amon Düül,
DJ Sneak,
Depeche Mode,
The Offenders,
The Move,
Darondo,
Gil Scott Heron,
Quando Quango,
Unrelated Segments,
Saccharine Trust,
The New Christs,
Tubeway Army,
June of 44,
The Birthday Party,
Charles Mingus,
The Neon Judgement,
World's Most,
Make Up,
Siglo XX,
Cybotron,
The Doors,
Pantaleimon,
Oppenheimer Analysis,
Warren Ellis,
Bobby Sherman,
Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band, Lafayette Afro Rock Band.
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.