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 Bosnia Herzegovina and from Mexico City.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Jakarta 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Bob Dylan to the dance kids.
I played it at Cafe Wha.
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 China Crisis. All the underground hits.
All Livin' Joy tracks. I heard you have a vinyl of every Excepter 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 an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
The Skatalites,
Smog,
Sonic Youth,
Lebanon Hanover,
The Fugs,
KRS-One,
The Index,
R.M.O.,
Arthur Verocai,
Traffic Nightmare,
Marcia Griffiths,
Popol Vuh,
Dark Day,
The Walker Brothers,
The Moleskins,
James White and The Blacks,
Kevin Saunderson,
Lizzy Mercier Descloux,
Man Parrish,
The Offenders,
Thinking Fellers Union Local 282,
The Evens,
Susan Cadogan,
Tears for Fears,
Peter & Gordon,
Junior Murvin,
Grauzone,
Pussy Galore,
Dead Boys,
Laurel Aitken,
Rekid,
Soft Cell,
Carl Craig,
Rufus Thomas,
Sly & The Family Stone,
Judy Mowatt,
Ossler,
Colin Newman,
Marmalade,
Matthew Bourne,
Lou Reed,
Urselle,
the Soft Cell,
OOIOO,
The Black Dice,
Swell Maps,
Quadrant,
Rod Modell,
Cymande,
Bauhaus,
Sound Behaviour,
Connie Case,
Mark Hollis,
Das Ding,
Infiniti,
New Age Steppers,
World's Most,
Lungfish,
Livin' Joy,
John Foxx,
Ultravox, Ultravox, Ultravox, Ultravox.
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.