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 Egypt and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Madrid and Halifax.
I'm losing my edge to the art-school Cairo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Wire to the grunge kids.
I played it at the Crocodile.
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 Sun Ra Arkestra. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Interpol 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 '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Visage,
The Young Rascals,
Roger Hodgson,
The Birthday Party,
The Skatalites,
Metal Thangz,
Glambeats Corp.,
Main Source,
X-101,
Skarface,
Fela Kuti,
The Grass Roots,
Terry Callier,
The Black Dice,
The Beau Brummels,
Jandek,
Television Personalities,
The Busters,
The Last Poets,
Royal Trux,
Ralphi Rosario,
Ultramagnetic MC's,
Thompson Twins,
Eurythmics,
Major Organ And The Adding Machine,
John Lydon,
Amon Düül II,
Visionaries,LMNO, T- Love & Iriscience,
Boredoms,
Minor Threat,
Echo & the Bunnymen,
T. Rex,
Chrome,
Joe Finger,
Hasil Adkins,
Stiv Bators,
The Invisible,
Harmonia,
Don Cherry,
K-Klass,
Banda Bassotti,
The Index,
Tomorrow,
Strawberry Alarm Clock,
Trumans Water,
Franke,
Big Daddy Kane,
DeepChord presents Echospace,
Young Marble Giants,
Piero Umiliani,
Barry Ungar,
The Happenings,
Wighnomy Brothers & Robag Wruhme,
Kayak,
Tres Demented,
Country Teasers,
Nick Fraelich,
The Raincoats,
Subhumans,
Rapeman,
Judy Mowatt,
Oblivians, Oblivians, Oblivians, Oblivians.
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.