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 Mauritania and from London.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Portland.
I'm losing my edge to the art-school Hong Kong 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 The Doors 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 Gary Puckett & The Union Gap. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
The Seeds,
The American Breed,
Sonic Youth,
DeepChord presents Echospace,
Marvin Gaye,
Guru Guru,
Röyhkä ja Rättö ja Lehtisalo,
Pylon,
Judy Mowatt,
Heavy D & The Boyz,
Tomorrow,
Gerry Rafferty,
Sun Ra,
Rod Modell,
The Young Rascals,
Lou Christie,
Flipper,
Icehouse,
Tears for Fears,
Massinfluence,
Barrington Levy,
Lyres,
the Fania All-Stars,
Ice-T,
Duran Duran,
Max Romeo,
David Bowie,
Smog,
The Fugs,
The Neon Judgement,
Brick,
The Peanut Butter Conspiracy,
Visionaries,LMNO, T- Love & Iriscience,
Sun City Girls,
Qualms,
Scrapy,
The Monks,
Janne Schatter,
Slave,
Nas,
Lalann,
Hashim,
New Age Steppers,
Au Pairs,
Bobby Hutcherson,
The Smiths,
Matthew Halsall,
Reuben Wilson,
Marcia Griffiths,
Deutsch Amerikanische Freundschaft,
Country Joe & The Fish,
Sandy B,
Dawn Penn,
The Offenders,
Lou Reed & John Cale,
John Foxx,
The Sisters of Mercy,
Underground Resistance,
The Vogues,
The Red Krayola,
Interpol,
The Techniques,
Notorious BIG live in Amsterdam,
AZ, AZ, AZ, AZ.
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.