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 Mexico and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and London.
I'm losing my edge to the art-school Lagos 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 organ sounds with much patience.
I was there when David Bowie 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 Fugazi to the electroclash kids.
I played it at the Astoria.
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 New Christs. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Graham Central Station 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Urselle,
The Saints,
New York Dolls,
Morten Harket,
Peter & Gordon,
The Durutti Column,
Mary Jane Girls,
Khruangbin,
Public Enemy,
The Mighty Diamonds,
Icehouse,
DeepChord presents Echospace,
Grandmaster Flash and the Furious Five,
Terrestrial Tones,
R.M.O.,
Pantaleimon,
Marc Romboy vs. Booka Shade,
Ultravox,
Kenny Larkin,
Hasil Adkins,
Al Stewart,
Crispy Ambulance,
Sound Behaviour,
The Mojo Men,
Nils Olav,
Lucky Dragons,
Rekid,
Thompson Twins,
Bill Wells,
Roy Ayers Ubiquity,
Interpol,
Underground Resistance,
Jacques Brel,
The Grass Roots,
Michelle Simonal,
Jeff Mills,
Crime,
Lou Christie,
Parry Music,
Gregory Isaacs,
Supertramp,
Section 25,
Mars,
Dorothy Ashby,
Cecil Taylor,
Pet Shop Boys,
Audionom,
Franke,
Pete Rock & C.L. Smooth,
Ludus,
Negative Approach,
Rites of Spring,
Hot Snakes,
John Coltrane,
Animal Collective,
Eyeless In Gaza,
Pagans,
The Doors,
Porter Ricks,
Siouxsie and the Banshees,
Dark Day,
T.S.O.L.,
The Dead C,
Scion, Scion, Scion, Scion.
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.