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 Venezuela and from Calgary.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
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 1975 at the first Ubu practice in a loft in Cleveland.
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 Masters at Work to the grunge 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 Stiv Bators. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every The Cosmic Jokers 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 '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Justin Hinds & The Dominoes,
Glenn Branca,
Kerrie Biddell,
Quadrant,
Darondo,
Matthew Halsall,
Reuben Wilson,
Soul II Soul,
The Blackbyrds,
Hot Snakes,
Symarip,
Larry & the Blue Notes,
the Association,
Sarah Menescal,
Jesper Dahlbäck,
Shoche,
Lebanon Hanover,
Alison Limerick,
Junior Murvin,
La Düsseldorf,
The J.B.'s,
Crooked Eye,
Rod Modell,
Bizarre Inc.,
Chris & Cosey,
Graham Central Station,
Heavy D & The Boyz,
Underground Resistance,
Royal Trux,
Stiv Bators,
June of 44,
Guru Guru,
Pete Rock & C.L. Smooth,
The Techniques,
Stereo Dub,
Ludus,
T.S.O.L.,
Joensuu 1685,
Little Man,
DeepChord presents Echospace,
the Slits,
The Move,
Oppenheimer Analysis,
Swell Maps,
Anakelly,
Bauhaus,
Dennis Brown,
Rosa Yemen,
Camberwell Now,
The Barracudas,
The Smoke,
Gastr Del Sol,
Sunsets and Hearts,
The Slits,
Cecil Taylor,
Subhumans,
Sound Behaviour,
Kauko Röyhkä ja Narttu,
The Blues Magoos,
Average White Band,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.