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 Ireland and from Columbus.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Delhi and Seoul.
I'm losing my edge to the art-school Tehran 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 spring reverb 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 Lonnie Liston Smith to the dance kids.
I played it at the Roxy.
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 Cure. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Newcleus 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Big Daddy Kane,
Bill Near,
Nation of Ulysses,
Anakelly,
Wighnomy Brothers & Robag Wruhme,
Heaven 17,
Pet Shop Boys,
Archie Shepp,
Gong,
Larry & the Blue Notes,
KRS-One,
Shuggie Otis,
Audionom,
Flipper,
Notorious Big And Bone Thugs,
Eli Mardock,
Little Man,
Gil Scott-Heron & Brian Jackson,
Susan Cadogan,
Junior Murvin,
Ten City,
Public Enemy,
Soft Cell,
Underground Resistance,
Rites of Spring,
Sad Lovers and Giants,
Roy Ayers,
Q and Not U,
The Grass Roots,
Bob Dylan,
The Move,
Skriet,
U.S. Maple,
Traffic Nightmare,
Rowland S Howard / Lydia Lunch,
Clear Light,
Lebanon Hanover,
Make Up,
Lindisfarne,
Carl Craig,
Panda Bear,
Albert Ayler,
Yellowson,
Mad Mike,
Second Layer,
Barrington Levy,
The Techniques,
Q65,
In Retrospect,
ABC,
Brand Nubian,
The Velvet Underground,
Gary Puckett & The Union Gap,
Sun City Girls,
Agitation Free,
Stiv Bators,
Simply Red,
Kas Product,
Roger Hodgson,
The Moleskins,
Average White Band,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.