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 Maldives and from Toronto.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Tehran 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Ultravox to the electroclash kids.
I played it at the 40 Watt.
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 Can. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Scratch Acid 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 '80s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
Scott Walker,
a-ha,
Alton Ellis,
Alice Coltrane,
The West Coast Pop Art Experimental Band,
Roy Ayers Ubiquity,
Girls At Our Best!,
The Real Kids,
Drive Like Jehu,
The Slackers,
Gian Franco Pienzio,
The Names,
Tommy Roe,
FM Einheit,
Niagra,
The Leaves,
Rekid,
Shoche,
Kas Product,
Soft Machine,
The Smiths,
Delon & Dalcan,
June Days,
Aaron Thompson,
This Heat,
Pussy Galore,
Black Moon,
Warsaw,
Arab on Radar,
Ultimate Spinach,
Jacob Miller,
The Evens,
John Coltrane,
Anakelly,
Pharaoh Sanders and the Fire Engines,
Judy Mowatt,
Avey Tare & Kría Brekkan,
Patti Smith,
Cecil Taylor,
The Toasters,
Sun Ra Arkestra,
Arthur Verocai,
Adolescents,
N.O.R.E. Featuring Pharrell,
Amon Düül,
Rod Modell,
Sonny Sharrock,
Jacques Brel,
Bad Manners,
Lou Reed & John Cale,
Second Layer,
Angry Samoans,
Unrelated Segments,
Marc Almond,
The Sonics,
Warren Ellis,
The Fugs,
Mr. Review,
The Cowsills,
Grandmaster Flash,
Cluster, Cluster, Cluster, Cluster.
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.