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 Kiribati and from Bologna.
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 1972.
I'm losing my edge.
To all the kids in Beijing and Beijing.
I'm losing my edge to the art-school Copenhagen 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 clarinet 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 The Alarm Clocks to the grime kids.
I played it at the Crocodile.
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 X-101. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Von Mondo,
Smog,
Amon Düül,
Ornette Coleman,
Television,
The Moleskins,
The Blackbyrds,
The Toasters,
Sound Behaviour,
Los Fastidios,
Beasts of Bourbon,
Absolute Body Control,
Eve St. Jones,
Glambeats Corp.,
The Pop Group,
Desert Stars,
Metal Thangz,
Boredoms,
Basic Channel,
The Detroit Cobras,
Scrapy,
Livin' Joy,
Ituana,
U.S. Maple,
Saccharine Trust,
The Sound,
Goldenarms,
Throbbing Gristle,
Chris & Cosey,
The Names,
Jerry Gold Smith,
Eddi Front,
Bronski Beat,
Aloha Tigers,
Grauzone,
Ludus,
The Sonics,
Colin Newman,
James White and The Blacks,
Sad Lovers and Giants,
Sex Pistols,
Qualms,
The Flesh Eaters,
June of 44,
The Misunderstood,
Derrick May,
The Monochrome Set,
Marcia Griffiths,
Negative Approach,
Kool G Rap & DJ Polo,
Soul Sonic Force,
The Knickerbockers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Max Romeo,
48th St. Collective,
China Crisis,
Jawbox,
Vladislav Delay,
Gregory Isaacs,
Black Bananas,
The Index,
Scratch Acid,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.