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 Austria and from Halifax.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school Calgary 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 theremin 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 Lucky Dragons 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 Scion. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Joey Negro 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 '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Cal Tjader,
Q and Not U,
Anthony Braxton,
Das Ding,
Larry & the Blue Notes,
Echospace,
Andrew Ashong & Theo Parrish,
Mo-Dettes,
Lower 48,
Liliput,
Derrick Morgan,
Charles Mingus,
Rod Modell,
Circle Jerks,
Marine Girls,
Sister Nancy,
Supertramp,
Nation of Ulysses,
La Düsseldorf,
DJ Sneak,
Lebanon Hanover,
Kings Of Tomorrow,
Lee Hazlewood,
Stetsasonic,
Black Flag,
the Swans,
Man Parrish,
Godley & Creme,
The Leaves,
Mad Mike,
Iggy Pop,
Brass Construction,
The Busters,
Gang Green,
JFA,
Lou Reed & John Cale,
The Walker Brothers,
Röyhkä ja Rättö ja Lehtisalo,
The Seeds,
The Sonics,
Bobby Byrd,
Bush Tetras,
EPMD,
Amon Düül,
Harry Pussy,
Gian Franco Pienzio,
Scott Walker,
Isaac Hayes,
Alphaville,
Gabor Szabo,
Kurtis Blow,
Blossom Toes,
Gang Starr,
The Young Rascals,
Camberwell Now,
Kas Product,
The Victims,
The Moleskins,
Barrington Levy,
Faust,
Radiopuhelimet,
Brick,
Model 500,
The Trojans, The Trojans, The Trojans, The Trojans.
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.