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 Vietnam and from Salvador.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Beijing and Columbus.
I'm losing my edge to the art-school Copenhagen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb 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 Max Romeo to the dance 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 Depeche Mode. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Dead Boys,
Bill Wells,
Soul II Soul,
It's A Beautiful Day,
Röyhkä ja Rättö ja Lehtisalo,
Junior Murvin,
Morten Harket,
Susan Cadogan,
Lee Hazlewood,
The Five Americans,
KRS-One,
Sound Behaviour,
Subhumans,
Quantec,
ABC,
Skriet,
Rowland S Howard / Lydia Lunch,
Minnie Riperton,
Echospace,
Sam Rivers,
Judy Mowatt,
Average White Band,
Tommy Roe,
Gian Franco Pienzio,
The Star Department,
Derrick Morgan,
Eurythmics,
Peter and Kerry,
The Chocolate Watch Band,
Gang Starr,
Lalo Schifrin,
Gregory Isaacs,
Aaron Thompson,
Desert Stars,
The Wake,
Funky Four + One,
Unrelated Segments,
Lizzy Mercier Descloux,
June of 44,
Larry & the Blue Notes,
Donald Byrd,
Nik Kershaw,
Gang of Four,
Rahsaan Roland Kirk,
The Sound,
World's Most,
Graham Central Station,
Siglo XX,
Richard Hell and the Voidoids,
Livin' Joy,
Lou Reed,
Procol Harum,
The Neon Judgement,
John Holt,
Scott Walker + Sunn O))),
Louis and Bebe Barron,
Brothers Johnson,
Major Organ And The Adding Machine,
The Dave Clark Five,
Fluxion,
The Blues Magoos,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Organ, Organ, Organ, Organ.
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.