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 Bahamas and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Spokane and Taipei.
I'm losing my edge to the art-school Milan 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 guitar 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 Young Marble Giants to the funk 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 Masters at Work. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
Maurizio,
Hoover,
The Star Department,
The Associates,
Fifty Foot Hose,
Darondo,
Tubeway Army,
The Kinks,
Nils Olav,
Glambeats Corp.,
Louis and Bebe Barron,
Matthew Bourne,
Visage,
Bootsy Collins,
Royal Trux,
Steve Hackett,
Andrew Ashong & Theo Parrish,
The Fortunes,
Dave Gahan,
Lee Hazlewood,
Suburban Knight,
Iggy Pop,
LL Cool J,
Surgeon,
Bronski Beat,
AZ,
Joensuu 1685,
The Zeros,
Fluxion,
Red Lorry Yellow Lorry,
Wasted Youth,
Aaron Thompson,
New Order,
Grandmaster Flash,
Bang on a Can All-Stars,
Dennis Brown,
Gil Scott-Heron and Jamie xx,
The Mojo Men,
Kaleidoscope,
Roxy Music,
Andrew Hill,
The Trojans,
Scott Walker,
The Dead C,
Jandek,
Colin Newman,
Eric B and Rakim,
Popol Vuh,
Yaz,
Chris & Cosey,
Schoolly D,
Crispian St. Peters,
Max Romeo,
Inner City,
The Last Poets,
The United States of America,
Nirvana,
Masters at Work,
Deutsch Amerikanische Freundschaft,
Moby Grape,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.