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 Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Al Stewart to the grunge 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 Reagan Youth. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Robert Hood 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
The Fire Engines,
Urselle,
Boogie Down Productions,
Big Daddy Kane,
Country Joe & The Fish,
Chrome,
La Düsseldorf,
Steve Hackett,
Todd Terry,
Kerri Chandler,
Visage,
Can,
Robert Görl,
The Trojans,
Liaisons Dangereuses,
Marc Almond,
Inner City,
Amon Düül II,
The Moody Blues,
Gabor Szabo,
The Flesh Eaters,
Bootsy's Rubber Band,
Index,
Josef K,
The Gladiators,
Altered Images,
Larry & the Blue Notes,
Rekid,
MDC,
Kool G Rap & DJ Polo,
Todd Rundgren,
Siglo XX,
China Crisis,
Buzzcocks,
Grauzone,
Scan 7,
Pharoah Sanders,
Slave,
Bizarre Inc.,
UT,
The Mighty Diamonds,
Groovy Waters,
Delta 5,
The Walker Brothers,
The Doobie Brothers,
Pantytec,
Unrelated Segments,
Archie Shepp,
Niagra,
Patti Smith,
Mars,
Trumans Water,
The Raincoats,
Lucky Dragons,
The Cowsills,
Radiopuhelimet,
K-Klass,
Fugazi,
Lizzy Mercier Descloux,
Accadde A,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.