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 Panama and from Shanghai.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Seoul and Johannesburg.
I'm losing my edge to the art-school Paris 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 Josef K practice in a loft in Edinburgh.
I was working on the clarinet 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 Lizzy Mercier Descloux to the punk 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 The United States of America. All the underground hits.
All Todd Terry tracks. I heard you have a vinyl of every Outsiders 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Khruangbin 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?
Bauhaus,
Skaos,
Model 500,
The Selecter,
Subhumans,
Slave,
Rhythm & Sound,
Ten City,
Toni Rubio,
DJ Style,
The J.B.'s,
the Swans,
Kool Moe Dee,
The Vogues,
Scott Walker + Sunn O))),
Ronnie Foster,
The American Breed,
Buzzcocks,
Idris Muhammad,
Rod Modell,
Sparks,
Morten Harket,
Soft Cell,
Nils Olav,
Junior Murvin,
Dawn Penn,
Cheater Slicks,
K-Klass,
James White and The Blacks,
Gastr Del Sol,
Swell Maps,
Drive Like Jehu,
Grauzone,
Tomorrow,
Barclay James Harvest,
Y Pants,
Marmalade,
These Immortal Souls,
Tears for Fears,
The Misunderstood,
The Moody Blues,
Frankie Knuckles,
Al Stewart,
The Red Krayola,
Crispian St. Peters,
Chrome,
Intrusion,
Minor Threat,
Ken Boothe,
Cymande,
X-102,
Black Flag,
Gerry Rafferty,
Marc Almond,
Porter Ricks,
Joey Negro,
Oppenheimer Analysis,
Gichy Dan,
Avey Tare,
Agent Orange,
Henry Cow,
Zero Boys,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.