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 St Lucia and from Copenhagen.
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 1974.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe 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 Half Japanese to the rock 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 Laurel Aitken. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Brand Nubian,
The Index,
Dorothy Ashby,
Black Flag,
Scott Walker + Sunn O))),
Terrestrial Tones,
Goldenarms,
Minnie Riperton,
Tim Buckley,
The Skatalites,
The Cramps,
Eric Dolphy,
Mary Jane Girls,
Tres Demented,
Nick Fraelich,
The Dead C,
Fat Boys,
Zapp,
Hoover,
The Saints,
Royal Trux,
Camberwell Now,
Easy Going,
Lalann,
Jacob Miller,
Electric Light Orchestra,
Gil Scott-Heron & Brian Jackson,
Warsaw,
Popol Vuh,
Scion,
Crispian St. Peters,
Girls At Our Best!,
The Electric Prunes,
Steve Hackett,
The Dirtbombs,
Moss Icon,
Joe Finger,
La Düsseldorf,
Darondo,
It's A Beautiful Day,
Glenn Branca,
Gichy Dan,
Matthew Halsall,
A Certain Ratio,
Lonnie Liston Smith,
Aswad,
Suicide,
Gian Franco Pienzio,
Q and Not U,
The Cure,
Rufus Thomas,
John Foxx,
Donny Hathaway,
Pole,
Pere Ubu,
Charles Mingus,
The Techniques,
Don Cherry,
Crispy Ambulance,
Gang of Four, Gang of Four, Gang of Four, Gang of Four.
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.