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 Macedonia and from Copenhagen.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Delhi and Spokane.
I'm losing my edge to the art-school Lyon 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 Hardrive to the grime 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 The Evens. All the underground hits.
All Index tracks. I heard you have a vinyl of every Wire 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Newcleus,
Black Moon,
Buzzcocks,
Skriet,
Major Organ And The Adding Machine,
Tears for Fears,
Nas,
Dual Sessions,
The Pop Group,
The Last Poets,
Gregory Isaacs,
Red Lorry Yellow Lorry,
Cameo,
The Cramps,
Liaisons Dangereuses,
Deepchord,
The Walker Brothers,
Unwound,
Flipper,
Mandrill,
Jesper Dahlback,
Roxette,
Harpers Bizarre,
Oneida,
JFA,
The Young Rascals,
Angry Samoans,
Dorothy Ashby,
A Certain Ratio,
Altered Images,
Bang On A Can,
Joey Negro,
Public Image Ltd.,
Moss Icon,
Country Teasers,
Grandmaster Flash,
Althea and Donna,
Mary Jane Girls,
Nation of Ulysses,
Angels of Light & Akron/Family,
Ornette Coleman,
Faraquet,
Marine Girls,
Outsiders,
Lalann,
Jacob Miller,
Kango’s Stein Massive,
The Dead C,
The Divine Comedy,
David Axelrod,
Sight & Sound,
OOIOO,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
In Retrospect,
Rotary Connection,
Tom Boy,
Aloha Tigers,
Albert Ayler,
Rahsaan Roland Kirk,
Minnie Riperton,
DJ Sneak,
Amon Düül,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.