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 South Africa and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school Houston 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba 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 Camron Feat. Jay Z And Juelz to the grunge kids.
I played it at the Spitz.
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 Suicide. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal punk 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 linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Marc Almond,
Beasts of Bourbon,
Spandau Ballet,
Larry & the Blue Notes,
Blake Baxter,
Strawberry Alarm Clock,
Sällskapet,
Ultravox,
Throbbing Gristle,
Infiniti,
The West Coast Pop Art Experimental Band,
Zero Boys,
Lindisfarne,
H. Thieme,
Bootsy Collins,
David Axelrod,
Buzzcocks,
Rekid,
Blancmange,
Lee Hazlewood,
New Age Steppers,
Quantec,
The Jesus and Mary Chain,
Brand Nubian,
Jesper Dahlback,
Rhythim Is Rhythim,
Connie Case,
Black Bananas,
The Grass Roots,
Gastr Del Sol,
Fat Boys,
Lebanon Hanover,
The Toasters,
Brick,
cv313,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ronan,
Japan,
Avey Tare & Kría Brekkan,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Visionaries,LMNO, T- Love & Iriscience,
Slick Rick,
Talk Talk,
Wings,
The Dirtbombs,
Sound Behaviour,
Mr. Review,
The American Breed,
The Seeds,
Sandy B,
Rahsaan Roland Kirk,
Symarip,
the Human League,
Minor Threat,
Rosa Yemen,
Icehouse,
Rapeman,
Young Marble Giants,
The Modern Lovers,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.