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 Costa Rica and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Madrid.
I'm losing my edge to the art-school Beijing 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Junior Murvin to the dance 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 Dark Day. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Talk Talk 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord 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?
Joe Smooth,
World's Most,
Magazine,
The Pop Group,
Masters at Work,
Camouflage,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Blues Magoos,
Slick Rick,
Bobby Sherman,
The Cramps,
Laurel Aitken,
The Velvet Underground,
Bobby Byrd,
Yazoo,
Maleditus Sound,
Kango’s Stein Massive,
Gastr Del Sol,
Lonnie Liston Smith,
Unwound,
Pagans,
Marshall Jefferson,
Neil Young,
R.M.O.,
Deadbeat,
This Heat,
Circle Jerks,
Metal Thangz,
The Toasters,
Eve St. Jones,
Richard Hell and the Voidoids,
Can,
Roxy Music,
Joy Division,
Joe Finger,
EPMD,
The Smoke,
Gil Scott Heron,
Captain Beefheart & His Magic Band,
Althea and Donna,
Porter Ricks,
Camron Feat. Jay Z And Juelz,
Sly & The Family Stone,
The Fugs,
Orchestral Manoeuvres in the Dark,
The Music Machine,
Anakelly,
Television Personalities,
Ultra Naté,
DNA,
Gil Scott-Heron & Brian Jackson,
Make Up,
Ultravox,
Toni Rubio,
Mr. Review,
Jeff Mills,
John Holt,
LL Cool J,
The Seeds,
Roger Hodgson,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.