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 Maldives and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar 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 The Monks to the jazz kids.
I played it at the Roxy.
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 The Dirtbombs. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Procol Harum,
Jandek,
Mad Mike,
Morten Harket,
The Victims,
Negative Approach,
Pantytec,
Flash Fearless,
Bill Wells,
Dr. Dre and Snoop Doggy Dog,
Gil Scott Heron,
Crime,
The Skatalites,
F. McDonald,
Television,
The Buckinghams,
Television Personalities,
The Seeds,
DJ Style,
Khruangbin,
Technova,
Marshall Jefferson,
Tropical Tobacco,
DNA,
Howard Jones,
Mr. Review,
Jesper Dahlbäck,
The Five Americans,
Johnny Clarke,
Lucky Dragons,
Accadde A,
Soft Machine,
China Crisis,
Lakeside,
Cecil Taylor,
Roy Ayers Ubiquity,
Skaos,
L. Decosne,
Lou Reed,
Animal Collective,
The Slits,
Henry Cow,
Don Cherry,
Angry Samoans,
Nils Olav,
Marine Girls,
Shoche,
T.S.O.L.,
AZ,
Davy DMX,
Cabaret Voltaire,
Eddi Front,
The Litter,
Liliput,
The Walker Brothers,
Warsaw,
Deepchord,
ABBA,
Sister Nancy,
Marc Almond,
ABC,
Easy Going,
Gerry Rafferty, Gerry Rafferty, Gerry Rafferty, Gerry Rafferty.
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.