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 Bolivia and from Beijing.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Madrid and Johannesburg.
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 1987 at the first Nirvana practice in a loft in Seattle.
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 Sunsets and Hearts to the grunge 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 Davy DMX. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Mandrill,
Sarah Menescal,
Robert Wyatt,
Bobby Hutcherson,
Bronski Beat,
Godley & Creme,
Bang On A Can,
The Tremeloes,
James Chance & The Contortions,
Traffic Nightmare,
Franke,
Rekid,
Teenage Jesus and the Jerks,
The Victims,
Ultimate Spinach,
Ludus,
Massinfluence,
Amon Düül,
Scion,
Yellowson,
The Techniques,
Cymande,
The Standells,
Boz Scaggs,
Kerrie Biddell,
Stiv Bators,
Smog,
Orchestral Manoeuvres in the Dark,
The Modern Lovers,
The Seeds,
Gabor Szabo,
Chrome,
Bauhaus,
Frankie Knuckles,
Ituana,
F. McDonald,
Subhumans,
Roy Ayers Ubiquity,
Harry Pussy,
Rosa Yemen,
Gil Scott-Heron and Jamie xx,
The Zeros,
Amazonics,
Pierre Henry,
Wings,
Infiniti,
Deutsch Amerikanische Freundschaft,
Gerry Rafferty,
The West Coast Pop Art Experimental Band,
Notorious BIG live in Amsterdam,
Avey Tare,
Mark Hollis,
Rufus Thomas,
The Move,
Idris Muhammad,
The Detroit Cobras,
The Cowsills,
Royal Trux,
Mars,
Hasil Adkins,
Audionom, Audionom, Audionom, Audionom.
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.