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 Barbados and from Johannesburg.
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 1977.
I'm losing my edge.
To all the kids in Paris and Edmonton.
I'm losing my edge to the art-school Lille 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 1973 at the first Television practice in a loft in New York.
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 Hot Snakes to the jazz kids.
I played it at the 40 Watt.
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 Raincoats. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal rap 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 marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Gil Scott-Heron & Brian Jackson,
Tropical Tobacco,
Rahsaan Roland Kirk,
Quantec,
Deadbeat,
Quando Quango,
Stetsasonic,
Barclay James Harvest,
Rufus Thomas,
Fat Boys,
Pere Ubu,
David McCallum,
Mad Mike,
Erasure,
Rotary Connection,
Gang of Four,
Arab on Radar,
Dawn Penn,
Alphaville,
Josef K,
John Coltrane,
Cybotron,
Television,
Dennis Brown,
Byron Stingily,
Audionom,
Gichy Dan,
Boz Scaggs,
Country Teasers,
Gian Franco Pienzio,
Jacques Brel,
Mary Jane Girls,
Ultravox,
Quadrant,
U.S. Maple,
Clear Light,
Alice Coltrane,
Major Organ And The Adding Machine,
Fear,
JFA,
Camberwell Now,
The Happenings,
Lou Reed & Metallica,
Carl Craig,
Thinking Fellers Union Local 282,
Nik Kershaw,
Lindisfarne,
Big Daddy Kane,
Cameo,
Soulsonic Force,
John Foxx,
Panda Bear,
Ajijia Myrayebe,
Aswad,
Country Joe & The Fish,
The Mummies,
Bronski Beat,
Dave Gahan,
Bobby Sherman,
Wire,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.