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 Libya and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Paris and Glasgow.
I'm losing my edge to the art-school Manchester 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 sitar 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 The Dead C to the techno 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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Chrome 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Man Parrish,
Barry Ungar,
the Normal,
CMW,
Harry Pussy,
Country Joe & The Fish,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Amon Düül,
David McCallum,
Fear,
Clear Light,
Icehouse,
Hasil Adkins,
Sound Behaviour,
The Monks,
Judy Mowatt,
Connie Case,
Television,
Bob Dylan,
Nirvana,
The Smiths,
Sister Nancy,
The Wake,
Lindisfarne,
Bang on a Can All-Stars,
Gary Puckett & The Union Gap,
Thinking Fellers Union Local 282,
Colin Newman,
Monks,
Siouxsie and the Banshees,
The Birthday Party,
The Divine Comedy,
The Dave Clark Five,
Nation of Ulysses,
Harmonia,
Chris & Cosey,
KRS-One,
Kerrie Biddell,
Subhumans,
Wasted Youth,
John Lydon,
Art Ensemble Of Chicago,
Al Stewart,
Khruangbin,
Nils Olav,
Metal Thangz,
Camron Feat. Memphis Bleek And Beenie Seigel,
Spandau Ballet,
Minnie Riperton,
Freddie Wadling,
Mars,
Bronski Beat,
Traffic Nightmare,
The Sisters of Mercy,
Fifty Foot Hose,
UT,
Piero Umiliani,
Jeff Lynne,
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.