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 Equatorial Guinea and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Accra and Cairo.
I'm losing my edge to the art-school Manila 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 Kerrie Biddell to the punk 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 Roxy Music. All the underground hits.
All Marcia Griffiths 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 grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Minor Threat,
Oppenheimer Analysis,
Monolake,
Neu!,
Flamin' Groovies,
Pierre Henry,
Art Ensemble Of Chicago,
Kayak,
Charles Mingus,
Soulsonic Force,
Severed Heads,
Kas Product,
Avey Tare & Kría Brekkan,
Royal Trux,
Matthew Halsall,
Tom Boy,
Bizarre Inc.,
The Doobie Brothers,
Pete Rock & C.L. Smooth,
The Happenings,
Scientists,
Symarip,
Jerry Gold Smith,
Blake Baxter,
Anakelly,
La Düsseldorf,
Gil Scott-Heron and Jamie xx,
Soft Machine,
Fugazi,
Röyhkä ja Rättö ja Lehtisalo,
Howard Jones,
Metal Thangz,
Bill Near,
a-ha,
Minnie Riperton,
The Mojo Men,
Radiopuhelimet,
Bauhaus,
Camouflage,
The Blues Magoos,
Kevin Saunderson,
the Slits,
Saccharine Trust,
Basic Channel,
Reagan Youth,
Ohio Players,
London Community Gospel Choir,
Kerri Chandler,
The Beau Brummels,
Intrusion,
D'Angelo,
Quantec,
Bob Dylan,
Robert Hood,
Skaos,
Interpol,
The Jesus and Mary Chain,
The Shadows of Knight,
Amon Düül II,
The Martian,
Wolf Eyes,
Negative Approach,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.