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 Lesotho and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Hong Kong.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro 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 Velvet Underground to the punk kids.
I played it at the Troubador.
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 Fort Wilson Riot. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a DJ Style record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Maleditus Sound,
Lucky Dragons,
Avey Tare's Slasher Flicks,
MDC,
Public Image Ltd.,
The Happenings,
The Black Dice,
Fifty Foot Hose,
John Lydon,
These Immortal Souls,
Lou Reed,
Camron Feat. Memphis Bleek And Beenie Seigel,
Marc Almond,
The Divine Comedy,
Delta 5,
Black Flag,
Absolute Body Control,
Newcleus,
Arthur Verocai,
Hot Snakes,
X-Ray Spex,
Hoover,
The Invisible,
Jawbox,
Johnny Clarke,
Terry Callier,
The Moleskins,
Basic Channel,
Gil Scott-Heron and Jamie xx,
The Litter,
Charles Mingus,
Mandrill,
Louis and Bebe Barron,
Eurythmics,
Pole,
Bob Dylan,
Reuben Wilson,
The New Christs,
Glambeats Corp.,
World's Most,
Dawn Penn,
Mark Hollis,
Bill Near,
Fela Kuti,
The Young Rascals,
Tom Boy,
The Move,
Ornette Coleman,
Trumans Water,
Rekid,
Prince Buster,
Justin Hinds & The Dominoes,
Minutemen,
Isaac Hayes,
Kauko Röyhkä ja Narttu,
Nirvana,
The Five Americans,
The Cowsills,
Boredoms,
Fad Gadget,
A Certain Ratio,
The Detroit Cobras,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.