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 Costa Rica and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Mexico City 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Roy Ayers Ubiquity to the rap 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 Vainqueur. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Stetsasonic,
Siouxsie and the Banshees,
Gang Starr,
AZ,
The Young Rascals,
Bill Near,
Babytalk,
Quantec,
Liaisons Dangereuses,
U.S. Maple,
The Mighty Diamonds,
The Sound,
The Monochrome Set,
Avey Tare's Slasher Flicks,
Barbara Tucker,
La Düsseldorf,
Anthony Braxton,
Pole,
Black Flag,
Hardrive,
World's Most,
Gil Scott-Heron & Brian Jackson,
Letta Mbulu,
The Remains,
Jeru the Damaja,
Minny Pops,
The Toasters,
Major Organ And The Adding Machine,
the Human League,
Thinking Fellers Union Local 282,
Mo-Dettes,
Lakeside,
One Last Wish,
Cymande,
Sonny Sharrock,
Boredoms,
H. Thieme,
K-Klass,
The Leaves,
The Real Kids,
Grey Daturas,
Country Teasers,
Röyhkä ja Rättö ja Lehtisalo,
Joyce Sims,
Neil Young,
Mandrill,
The Cramps,
Rekid,
The Star Department,
Quando Quango,
Tom Boy,
Inner City,
The Mummies,
Faust,
The Zeros,
Parry Music,
Red Lorry Yellow Lorry,
Lebanon Hanover,
Roxy Music,
The Gories,
Morten Harket,
Crash Course in Science,
Make Up,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.