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 Monaco and from Bremen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
I'm losing my edge to the art-school London 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 Holger Czukay 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 Swell Maps to the punk 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 Rufus Thomas. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and a theremin 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Jerry's Kids,
Mark Hollis,
Delon & Dalcan,
Gabor Szabo,
Alison Limerick,
Dual Sessions,
Rekid,
Super Lover Cee & Casanova Rud,
The Cramps,
Inner City,
Model 500,
Max Romeo,
Erasure,
Joensuu 1685,
Moss Icon,
Lonnie Liston Smith,
Symarip,
Goldenarms,
Rapeman,
Ultravox,
Sun City Girls,
James White and The Blacks,
Graham Central Station,
The Toasters,
Siglo XX,
Dorothy Ashby,
Barry Ungar,
Terrestrial Tones,
Eli Mardock,
Wings,
Das Ding,
AZ,
Godley & Creme,
Bauhaus,
De La Soul & Jungle Brothers,
Cal Tjader,
The Gap Band,
Robert Hood,
Gang Starr,
The Mojo Men,
Scott Walker + Sunn O))),
Niagra,
Kool Moe Dee,
Siouxsie and the Banshees,
Hoover,
Peter and Kerry,
Lou Reed & Metallica,
Be Bop Deluxe,
Saccharine Trust,
Andrew Hill,
Whodini,
Minor Threat,
Clear Light,
Minnie Riperton,
Livin' Joy,
Andrew Ashong & Theo Parrish,
Absolute Body Control,
Lindisfarne,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.