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 Zambia and from Portland.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Minor Threat to the rap kids.
I played it at the 40 Watt.
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 X-102. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every kango's stein massive 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
UT,
John Cale,
Icehouse,
Fela Kuti,
Notorious Big And Bone Thugs,
Art Ensemble Of Chicago,
Lindisfarne,
Bobbi Humphrey,
cv313,
Amazonics,
Stiv Bators,
Fort Wilson Riot,
Livin' Joy,
The Martian,
Marmalade,
Amon Düül,
The Blues Magoos,
Jeff Lynne,
Royal Trux,
The Moleskins,
Lee Hazlewood,
Tomorrow,
Morten Harket,
Neu!,
Andrew Hill,
Kango’s Stein Massive,
James Chance & The Contortions,
John Coltrane,
the Slits,
The Neon Judgement,
Jandek,
Minor Threat,
Tim Buckley,
Das Ding,
Procol Harum,
Gang Gang Dance,
Kas Product,
Rosa Yemen,
Cecil Taylor,
Dave Gahan,
Marine Girls,
Ten City,
The Golliwogs,
Television,
Flash Fearless,
F. McDonald,
The Blackbyrds,
Rufus Thomas,
Barry Ungar,
Nation of Ulysses,
Neil Young & Crazy Horse,
The Stooges,
Isaac Hayes,
the Normal,
T. Rex,
Brass Construction,
Notorious BIG live in Amsterdam,
Sonny Sharrock,
Jeru the Damaja,
Parry Music,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.