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 Panama and from Lyon.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Cairo 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 linndrum 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 Alice Coltrane to the jazz kids.
I played it at CBGB's.
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 Eden Ahbez. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every The Residents 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 '70s cut and another box set from the '70s.
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 Funkadelic record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Groovy Waters,
Youth Brigade,
Television,
Panda Bear,
Kenny Larkin,
The Litter,
Gil Scott-Heron and Jamie xx,
Niagra,
Electric Light Orchestra,
The Detroit Cobras,
Brass Construction,
Oppenheimer Analysis,
Soft Machine,
London Community Gospel Choir,
Morten Harket,
Moss Icon,
The Chocolate Watch Band,
Donald Byrd,
The Angels of Light,
The Birthday Party,
The Mojo Men,
Dark Day,
Swell Maps,
Sister Nancy,
Black Flag,
Lalo Schifrin,
Flash Fearless,
Siouxsie and the Banshees,
Mandrill,
Tropical Tobacco,
Vainqueur,
Deadbeat,
Theoretical Girls,
Teenage Jesus and the Jerks,
Lou Reed,
Sad Lovers and Giants,
John Foxx,
Henry Cow,
Eurythmics,
DJ Sneak,
Ronan,
Nas,
The Motions,
Pharaoh Sanders and the Fire Engines,
The Red Krayola,
Stockholm Monsters,
Half Japanese,
The Blues Magoos,
Kurtis Blow,
Connie Case,
Fugazi,
the Sonics,
The Saints,
Bronski Beat,
Gang Gang Dance,
The United States of America,
Bootsy Collins,
Electric Prunes,
Frankie Knuckles,
Das Ding,
Deepchord,
Arcadia, Arcadia, Arcadia, Arcadia.
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.