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 the UAE and from Mexico City.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school Paris 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 guitar sounds with much patience.
I was there when Lou Reed 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 Marmalade to the dance 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 Morten Harket. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
Vladislav Delay,
The Star Department,
June of 44,
Ituana,
The West Coast Pop Art Experimental Band,
Hashim,
Dead Boys,
Echospace,
Big Daddy Kane,
It's A Beautiful Day,
John Cale,
Bauhaus,
Ludus,
The Moleskins,
The Cowsills,
Gabor Szabo,
Aswad,
Gang Starr,
Rhythm & Sound,
Richard Hell and the Voidoids,
Masters at Work,
Siouxsie and the Banshees,
JFA,
Hoover,
Jeff Lynne,
Anthony Braxton,
Dawn Penn,
New Order,
Sunsets and Hearts,
Mo-Dettes,
Michelle Simonal,
Outsiders,
John Lydon,
Qualms,
Tears for Fears,
Organ,
The Searchers,
Fatback Band,
The American Breed,
Kerri Chandler,
The Evens,
Infiniti,
LL Cool J,
Al Stewart,
The Detroit Cobras,
Sister Nancy,
The Royal Family And The Poor,
the Swans,
Pagans,
Laurel Aitken,
Surgeon,
Pantaleimon,
Super Lover Cee & Casanova Rud,
The Dirtbombs,
Chris & Cosey,
Slick Rick,
The Stooges,
Brass Construction,
Maurizio,
Gichy Dan,
Eden Ahbez,
Shoche, Shoche, Shoche, Shoche.
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.