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 France and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1975.
I'm losing my edge.
To all the kids in London and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum 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 D'Angelo to the punk kids.
I played it at Trash.
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 The Mojo Men. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Don Cherry,
Rod Modell,
Throbbing Gristle,
Peter Gordon & Love of Life Orchestra,
Quantec,
Boogie Down Productions,
Pantytec,
Agent Orange,
Ronan,
Sparks,
Intrusion,
Lyres,
Eurythmics,
The Blues Magoos,
Nils Olav,
Moby Grape,
Tears for Fears,
Ultravox,
Vainqueur,
Todd Rundgren,
Gil Scott-Heron and Jamie xx,
Brass Construction,
Faust,
D'Angelo,
Q65,
Slave,
R.M.O.,
Von Mondo,
Sun City Girls,
Avey Tare's Slasher Flicks,
The Sisters of Mercy,
The Doors,
Letta Mbulu,
The Moleskins,
Supertramp,
Ludus,
Nation of Ulysses,
Soft Cell,
Sister Nancy,
Amon Düül II,
X-102,
The Gun Club,
The Zeros,
Thee Headcoats,
B.T. Express,
Massinfluence,
the Bar-Kays,
Radiopuhelimet,
The Offenders,
FM Einheit,
Bang on a Can All-Stars,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Count Five,
Crooked Eye,
Fela Kuti,
Cluster,
the Sonics,
Richard Hell and the Voidoids,
Warsaw,
Andrew Ashong & Theo Parrish,
Dorothy Ashby,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.