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 Uganda and from Lyon.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin 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 Kayak to the crunk 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 Normal. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal jazz 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis 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?
Morten Harket,
A Flock of Seagulls,
The Associates,
Pantaleimon,
Lightning Bolt,
Inner City,
the Slits,
The Happenings,
Siouxsie and the Banshees,
Alice Coltrane,
Negative Approach,
Barbara Tucker,
Gil Scott-Heron & Brian Jackson,
Suburban Knight,
Barclay James Harvest,
Agent Orange,
Pylon,
DJ Style,
Groovy Waters,
Siglo XX,
Eric B and Rakim,
Peter & Gordon,
KRS-One,
Joensuu 1685,
Carl Craig,
Can,
The Misunderstood,
Gang Green,
Derrick May,
Sun City Girls,
Flash Fearless,
Curtis Mayfield,
The Human League,
Oppenheimer Analysis,
Warren Ellis,
Junior Murvin,
Visionaries,LMNO, T- Love & Iriscience,
Grandmaster Flash,
Prince Buster,
Marvin Gaye,
The Sound,
Iggy Pop,
The Buckinghams,
Pet Shop Boys,
Jeru the Damaja,
Scan 7,
The Cure,
Sad Lovers and Giants,
Richard Hell and the Voidoids,
Parry Music,
Swell Maps,
Anakelly,
Hasil Adkins,
Bobby Hutcherson,
Andrew Ashong & Theo Parrish,
The Litter,
Fort Wilson Riot,
Dual Sessions,
The Smoke,
Major Organ And The Adding Machine,
Lou Reed, Lou Reed, Lou Reed, Lou Reed.
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.