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 Brazil and from Stockholm.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 spring reverb 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 Pharoah Sanders to the grunge kids.
I played it at the Roxy.
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 Laurel Aitken. All the underground hits.
All Cheater Slicks 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 rock 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 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lucky Dragons record.
I hear that you and your band have sold your oboe and bought an organ.
I hear that you and your band have sold your organ and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Sarah Menescal,
T.S.O.L.,
Ponytail,
Marmalade,
Slick Rick,
Marc Romboy vs. Booka Shade,
Adolescents,
The Real Kids,
Steve Hackett,
Minutemen,
Joe Finger,
Piero Umiliani,
Siglo XX,
The Cowsills,
Ultravox,
Man Eating Sloth,
Main Source,
Archie Shepp,
Warren Ellis,
Interpol,
Brass Construction,
Bill Near,
The Gap Band,
John Cale,
Mantronix,
Ornette Coleman,
Half Japanese,
The Monochrome Set,
Mars,
Roger Hodgson,
the Soft Cell,
Sun Ra,
The Velvet Underground,
The Smiths,
Qualms,
Grandmaster Flash,
The Selecter,
Icehouse,
Mad Mike,
Scott Walker + Sunn O))),
The Blackbyrds,
Rhythm & Sound,
Man Parrish,
Andrew Hill,
Glambeats Corp.,
Charles Mingus,
Kurtis Blow,
The United States of America,
Juan Atkins,
The Sonics,
New Age Steppers,
Scion,
Be Bop Deluxe,
Duran Duran,
Slave,
Roxy Music,
Throbbing Gristle,
Deakin,
Blake Baxter,
the Bar-Kays,
The West Coast Pop Art Experimental Band,
Echospace, Echospace, Echospace, Echospace.
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.