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 Iceland and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Paris and Spokane.
I'm losing my edge to the art-school New York 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Red Lorry Yellow Lorry to the dance kids.
I played it at the 40 Watt.
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 Quadrant. All the underground hits.
All The Sonics 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 jazz 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Fugs record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Sarah Menescal,
The Chocolate Watch Band,
John Cale,
Sexual Harrassment,
Super Lover Cee & Casanova Rud,
A Flock of Seagulls,
DJ Sneak,
Half Japanese,
Dead Boys,
Audionom,
Ash Ra Tempel,
Lou Reed & Metallica,
Index,
Minny Pops,
Soulsonic Force,
The Walker Brothers,
Jimmy McGriff,
Nirvana,
Sunsets and Hearts,
Pussy Galore,
Malaria!,
Bob Dylan,
Henry Cow,
Stiv Bators,
Soft Machine,
Cabaret Voltaire,
Kerrie Biddell,
Don Cherry,
Fort Wilson Riot,
Lou Reed & John Cale,
Grandmaster Flash,
Barry Ungar,
Roxette,
Pete Rock & C.L. Smooth,
Bang on a Can All-Stars,
Mark Hollis,
Joensuu 1685,
Michelle Simonal,
Agitation Free,
Von Mondo,
Youth Brigade,
Cal Tjader,
The Offenders,
The New Christs,
James Chance & The Contortions,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Roy Ayers Ubiquity,
Oblivians,
Babytalk,
The Litter,
Throbbing Gristle,
KRS-One,
Porter Ricks,
Bobby Sherman,
Deepchord,
Television Personalities,
Electric Prunes,
Ken Boothe,
The Standells,
Neu!,
Scan 7,
Leonard Cohen,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.