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 Mozambique and from Philadelphia.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Lagos 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 Can practice in a loft in Cologne.
I was working on the guitar 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 Masters at Work to the dance 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 Names. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every John Cale record on German import.
I heard that you have a white label of every seminal grunge 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 güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
The Vogues,
The Electric Prunes,
Von Mondo,
Eric Dolphy,
Accadde A,
Scion,
The Shadows of Knight,
Fat Boys,
Los Fastidios,
Albert Ayler,
Gil Scott-Heron and Jamie xx,
The Music Machine,
Gerry Rafferty,
Icehouse,
The Remains,
The Seeds,
Hot Snakes,
Loose Ends,
Marc Almond,
Goldenarms,
Chrome,
Minutemen,
Sight & Sound,
The Velvet Underground,
Lou Reed & Metallica,
Barry Ungar,
Angry Samoans,
Pantaleimon,
Niagra,
DJ Sneak,
Negative Approach,
Kaleidoscope,
the Bar-Kays,
Danielle Patucci,
The Gun Club,
Mark Hollis,
Janne Schatter,
Warsaw,
La Düsseldorf,
Jesper Dahlback,
X-102,
Hoover,
E-Dancer,
Girls At Our Best!,
Marshall Jefferson,
Outsiders,
London Community Gospel Choir,
Subhumans,
Matthew Halsall,
48th St. Collective,
OOIOO,
Maleditus Sound,
Tommy Roe,
John Holt,
Susan Cadogan,
The Men They Couldn't Hang,
Notorious BIG live in Amsterdam,
The Names,
Lucky Dragons,
Sly & The Family Stone,
Unwound,
Crime,
the Swans, the Swans, the Swans, the Swans.
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.