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 Lebanon and from Accra.
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 1972.
I'm losing my edge.
To all the kids in Halifax and Taipei.
I'm losing my edge to the art-school London 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 Rod Modell to the rap kids.
I played it at the 40 Watt.
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 Easy Going. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every The Fire Engines 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Beasts of Bourbon,
Japan,
Gong,
The J.B.'s,
The Young Rascals,
Sexual Harrassment,
Larry & the Blue Notes,
Gabor Szabo,
Curtis Mayfield,
Harpers Bizarre,
Duran Duran,
Hoover,
Yusef Lateef,
Lizzy Mercier Descloux,
Ornette Coleman,
Sugar Minott,
In Retrospect,
E-Dancer,
Bluetip,
Iggy Pop,
The Toasters,
Soft Machine,
Qualms,
The Misunderstood,
Eurythmics,
Fela Kuti,
Babytalk,
Marmalade,
Glambeats Corp.,
Wally Richardson,
Wighnomy Brothers & Robag Wruhme,
Ash Ra Tempel,
Sun Ra Arkestra,
Jacob Miller,
Kango’s Stein Massive,
Janne Schatter,
Scientists,
Bauhaus,
Severed Heads,
Wolf Eyes,
Vaughan Mason & Crew,
Super Lover Cee & Casanova Rud,
The Moody Blues,
Morten Harket,
Marshall Jefferson,
Dorothy Ashby,
Delon & Dalcan,
Jerry's Kids,
Little Man,
Andrew Hill,
Pole,
Main Source,
Pylon,
Donny Hathaway,
The Blues Magoos,
The Modern Lovers,
Underground Resistance,
Marine Girls,
The Jesus and Mary Chain,
Sixth Finger, Sixth Finger, Sixth Finger, Sixth Finger.
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.