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 Malaysia and from Accra.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
I'm losing my edge to the art-school Winnipeg 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 at the first Suicide practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 The Velvet Underground to the rock kids.
I played it at the Roxy.
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 10cc. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Rod Modell,
Country Joe & The Fish,
The Dead C,
Section 25,
UT,
Absolute Body Control,
Black Flag,
Camberwell Now,
The Fuzztones,
Nik Kershaw,
Al Stewart,
Drive Like Jehu,
the Slits,
Be Bop Deluxe,
Cal Tjader,
Justin Hinds & The Dominoes,
Shoche,
Outsiders,
Sonny Sharrock,
Siglo XX,
Electric Light Orchestra,
Grauzone,
Swell Maps,
Aswad,
Tom Boy,
It's A Beautiful Day,
Boogie Down Productions,
Captain Beefheart & His Magic Band,
Zapp,
Gabor Szabo,
Max Romeo,
Ossler,
Marc Romboy vs. Booka Shade,
Lou Reed & John Cale,
The Smiths,
Red Lorry Yellow Lorry,
Eric Copeland,
Sunsets and Hearts,
The Durutti Column,
K-Klass,
Bluetip,
Arthur Verocai,
The Gun Club,
Sixth Finger,
Sister Nancy,
Kool G Rap & DJ Polo,
Derrick May,
Ajijia Myrayebe,
Ash Ra Tempel,
Mo-Dettes,
Flipper,
Dead Boys,
Radiohead,
Lebanon Hanover,
The Mojo Men,
Marmalade,
Niagra,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.