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 Yemen and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Cairo and Toronto.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Wire practice in a loft in Watford.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Velvet Underground to the techno kids.
I played it at the Crocodile.
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 Wake. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Gil Scott Heron,
The Beau Brummels,
Banda Bassotti,
The Litter,
Lakeside,
Heaven 17,
Pet Shop Boys,
The Divine Comedy,
Qualms,
Major Organ And The Adding Machine,
Kings Of Tomorrow,
Jerry's Kids,
Babytalk,
Icehouse,
Skaos,
Brass Construction,
Ralphi Rosario,
Half Japanese,
MDC,
John Cale,
Andrew Ashong & Theo Parrish,
Make Up,
Second Layer,
Rapeman,
Index,
K-Klass,
the Human League,
Crispian St. Peters,
Soft Machine,
The Remains,
Gabor Szabo,
Country Teasers,
David McCallum,
The Slits,
Outsiders,
Tim Buckley,
Newcleus,
Skarface,
Chrome,
Model 500,
Scott Walker + Sunn O))),
Boz Scaggs,
Infiniti,
Orchestral Manoeuvres in the Dark,
Susan Cadogan,
Marshall Jefferson,
Minnie Riperton,
Audionom,
Grandmaster Flash,
The Zeros,
Tom Boy,
Peter Gordon & Love of Life Orchestra,
Alison Limerick,
Bobbi Humphrey,
These Immortal Souls,
Lou Reed & Metallica,
One Last Wish,
Oneida,
Vainqueur,
Jimmy McGriff,
Todd Terry,
Cybotron,
Byron Stingily,
Ossler, Ossler, Ossler, Ossler.
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.