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 Latvia and from Salvador.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the guitar sounds with much patience.
I was there when David Bowie 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 KRS-One to the techno 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 The Men They Couldn't Hang. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MDC,
Beasts of Bourbon,
Gabor Szabo,
The Sound,
Eurythmics,
The Trojans,
Derrick May,
Animal Collective,
Lizzy Mercier Descloux,
The Moleskins,
Joe Smooth,
Terry Callier,
R.M.O.,
Kurtis Blow,
cv313,
Lou Reed & John Cale,
Mark Hollis,
The Associates,
PIL,
The Real Kids,
Marine Girls,
The Music Machine,
Monks,
Marshall Jefferson,
Swell Maps,
Soft Cell,
The Electric Prunes,
Section 25,
Sun Ra Arkestra,
Peter and Kerry,
Aaron Thompson,
Throbbing Gristle,
Black Pus,
Roger Hodgson,
Arthur Verocai,
Kerrie Biddell,
Traffic Nightmare,
A Flock of Seagulls,
Avey Tare,
Bobby Byrd,
Moby Grape,
Franke,
Khruangbin,
The Cramps,
The Sisters of Mercy,
Ajijia Myrayebe,
Captain Beefheart & His Magic Band,
Art Ensemble Of Chicago,
Depeche Mode,
Amon Düül,
Danielle Patucci,
Lebanon Hanover,
Blake Baxter,
Darondo,
Jandek,
Man Parrish,
Wire,
Lou Reed & Metallica,
Bizarre Inc.,
Aural Exciters,
Adolescents,
Japan, Japan, Japan, Japan.
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.