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 Kazakhstan and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Salvador 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 mellotron 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 Byron Stingily to the jazz kids.
I played it at the Roxy.
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 Freddie Wadling. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Neil Young,
La Düsseldorf,
Bush Tetras,
Faust,
The Misunderstood,
Sonny Sharrock,
Kenny Larkin,
Japan,
Oneida,
Slick Rick,
Johnny Osbourne,
The Birthday Party,
Beasts of Bourbon,
New York Dolls,
Amon Düül,
Pantytec,
Lou Reed,
The Neon Judgement,
The Monks,
Newcleus,
Echospace,
Gang of Four,
The Grass Roots,
Pete Rock & C.L. Smooth,
Altered Images,
Kaleidoscope,
Glambeats Corp.,
Deadbeat,
The Smiths,
Nik Kershaw,
Banda Bassotti,
the Slits,
Kevin Saunderson,
John Lydon,
10cc,
Das Ding,
Agitation Free,
Yazoo,
Leonard Cohen,
The Martian,
The Victims,
Gang Gang Dance,
Super Lover Cee & Casanova Rud,
Bobby Sherman,
Funkadelic,
Roxy Music,
Symarip,
Monolake,
Neu!,
The Fugs,
H. Thieme,
Wighnomy Brothers & Robag Wruhme,
Art Ensemble Of Chicago,
Stiv Bators,
a-ha,
Marshall Jefferson,
The Invisible,
Laurel Aitken,
K-Klass,
Sex Pistols,
Gerry Rafferty,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.