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 United Kingdom and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1968 to 1973.
I'm losing my edge.
To all the kids in New York and Madrid.
I'm losing my edge to the art-school Columbus 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 linndrum 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 Interpol to the disco kids.
I played it at CBGB's.
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 Deadbeat. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every The Toasters 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Byron Stingily 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?
Half Japanese,
Boz Scaggs,
Rhythm & Sound,
Suburban Knight,
David Axelrod,
Tres Demented,
Mantronix,
The Associates,
Josef K,
Throbbing Gristle,
Selector Dub Narcotic,
The Red Krayola,
Ten City,
Mark Hollis,
Eric B and Rakim,
Tommy Roe,
James White and The Blacks,
Infiniti,
D'Angelo,
Deepchord,
The Royal Family And The Poor,
The Doobie Brothers,
The Barracudas,
Sam Rivers,
Amon Düül,
Minny Pops,
Jesper Dahlbäck,
The Move,
Heavy D & The Boyz,
The Velvet Underground,
Accadde A,
The Seeds,
Fugazi,
F. McDonald,
Dawn Penn,
Pussy Galore,
Avey Tare & Kría Brekkan,
Nick Cave & The Bad Seeds,
Ralphi Rosario,
Outsiders,
Scion,
Panda Bear,
Toni Rubio,
The Invisible,
Sun City Girls,
The Beau Brummels,
Nirvana,
Ajijia Myrayebe,
Negative Approach,
Camberwell Now,
Lou Reed & John Cale,
The Buckinghams,
The Mummies,
Terry Callier,
Erykah Badu,
The Cowsills,
Nation of Ulysses,
Essential Logic,
The Litter,
Freddie Wadling,
Angry Samoans,
Rakim,
Boredoms, Boredoms, Boredoms, Boredoms.
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.