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 Kuwait and from Seoul.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Manchester.
I'm losing my edge to the art-school Delhi 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 Stetsasonic to the punk 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 Lou Reed. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Kenny Larkin,
Visage,
Joy Division,
Dark Day,
Camron Feat. Memphis Bleek And Beenie Seigel,
Selector Dub Narcotic,
The Shadows of Knight,
The J.B.'s,
The Dave Clark Five,
Gichy Dan,
Barrington Levy,
Panda Bear,
New York Dolls,
Skarface,
The Skatalites,
Masters at Work,
DJ Style,
Fifty Foot Hose,
Soft Machine,
Heaven 17,
Ituana,
The United States of America,
Tim Buckley,
Pussy Galore,
Hot Snakes,
Eve St. Jones,
Saccharine Trust,
Altered Images,
The Standells,
Justin Hinds & The Dominoes,
Grandmaster Flash,
Little Man,
Vaughan Mason & Crew,
Byron Stingily,
The Seeds,
Black Bananas,
The Neon Judgement,
The Last Poets,
Lungfish,
Circle Jerks,
Thompson Twins,
The West Coast Pop Art Experimental Band,
Teenage Jesus and the Jerks,
Radio Birdman,
the Swans,
The Human League,
Lafayette Afro Rock Band,
Nick Cave & The Bad Seeds,
The Moody Blues,
Sun Ra,
Nico,
Fugazi,
Sun Ra Arkestra,
Echospace,
Kauko Röyhkä ja Narttu,
Sound Behaviour,
The Monochrome Set,
Richard Hell and the Voidoids,
Al Stewart,
Slick Rick,
Gian Franco Pienzio,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.