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 Vietnam and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Kauko Röyhkä ja Narttu to the jazz kids.
I played it at the Hacienda.
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 Sex Pistols. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Barry Ungar 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Bizarre Inc.,
Spoonie Gee,
Glenn Branca,
Swans,
Mars,
Crooked Eye,
Masters at Work,
Saccharine Trust,
Pete Rock & C.L. Smooth,
The Selecter,
Matthew Bourne,
Johnny Clarke,
Kool Moe Dee,
L. Decosne,
Traffic Nightmare,
Big Daddy Kane,
The Move,
the Association,
This Heat,
Blancmange,
Marshall Jefferson,
Avey Tare's Slasher Flicks,
Eyeless In Gaza,
Marc Romboy vs. Booka Shade,
Pulsallama,
Stereo Dub,
Mr. Review,
Judy Mowatt,
Bobby Womack,
The Associates,
The Gun Club,
a-ha,
Al Stewart,
Panda Bear,
Popol Vuh,
Mantronix,
Grey Daturas,
Kauko Röyhkä ja Narttu,
Letta Mbulu,
Ajijia Myrayebe,
Ken Boothe,
Model 500,
Rahsaan Roland Kirk,
Lalann,
The Knickerbockers,
Lower 48,
David Bowie,
Junior Murvin,
Joey Negro,
Essential Logic,
Bobbi Humphrey,
Bill Near,
Ultimate Spinach,
Fort Wilson Riot,
Sister Nancy,
Surgeon,
Boz Scaggs,
Sugar Minott,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.