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 Morocco and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Shanghai 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 mellotron 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 The Fortunes to the rock kids.
I played it at the Spitz.
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 Marvin Gaye. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Pole 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 '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Drive Like Jehu,
Saccharine Trust,
The Fortunes,
Joensuu 1685,
David Bowie,
Model 500,
Spandau Ballet,
Heavy D & The Boyz,
Pharaoh Sanders and the Fire Engines,
Ten City,
Kaleidoscope,
Strawberry Alarm Clock,
Anakelly,
Beasts of Bourbon,
The Angels of Light,
Wire,
Jerry's Kids,
The Fuzztones,
DJ Style,
Mary Jane Girls,
Q65,
The Cosmic Jokers,
Radio Birdman,
Andrew Ashong & Theo Parrish,
The Walker Brothers,
The Techniques,
The Sound,
Johnny Osbourne,
Rosa Yemen,
Rhythim Is Rhythim,
Livin' Joy,
Mr. Review,
Aswad,
T.S.O.L.,
Cymande,
New York Dolls,
Max Romeo,
Parry Music,
Freddie Wadling,
Fear,
Don Cherry,
Gastr Del Sol,
Japan,
Inner City,
Public Image Ltd.,
Joey Negro,
Selector Dub Narcotic,
Symarip,
B.T. Express,
The Standells,
Porter Ricks,
Jesper Dahlbäck,
Q and Not U,
ABBA,
Marcia Griffiths,
Ronnie Foster,
Soul Sonic Force,
Scott Walker + Sunn O))),
Siglo XX,
The Durutti Column,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.