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 Jordan and from Woodstock.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Steve Hackett to the grunge 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 Oneida. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal jazz 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 snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Throbbing Gristle,
Bang On A Can,
Stetsasonic,
The Cramps,
The Skatalites,
R.M.O.,
The United States of America,
Cameo,
Lower 48,
Arab on Radar,
Aswad,
Grandmaster Flash and the Furious Five,
Malaria!,
The Pretty Things,
Sparks,
Boredoms,
The Mummies,
The Toasters,
Funkadelic,
Groovy Waters,
Donald Byrd,
Peter & Gordon,
The Red Krayola,
Unrelated Segments,
Sugar Minott,
Das Ding,
Roy Ayers Ubiquity,
Liliput,
Wasted Youth,
Terrestrial Tones,
Blake Baxter,
The Electric Prunes,
Gil Scott-Heron and Jamie xx,
Blancmange,
Gichy Dan,
Steve Hackett,
The Cowsills,
Orchestral Manoeuvres in the Dark,
Minny Pops,
Angry Samoans,
Lafayette Afro Rock Band,
Swell Maps,
Dual Sessions,
Selector Dub Narcotic,
Mad Mike,
Deutsch Amerikanische Freundschaft,
Lebanon Hanover,
Mission of Burma,
The Birthday Party,
Ultramagnetic MC's,
Yellowson,
Smog,
Country Joe & The Fish,
Lalo Schifrin,
Ultra Naté,
Absolute Body Control,
The Techniques,
Symarip,
A Certain Ratio,
The Count Five,
Iggy Pop,
Mark Hollis,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.