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 Mozambique and from Bremen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mumbai 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 The Sisters of Mercy to the rock kids.
I played it at Trash.
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 The Pretty Things. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every The Saints 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Minor Threat,
The Offenders,
Rhythm & Sound,
John Holt,
John Foxx,
Joey Negro,
Desert Stars,
Sonny Sharrock,
New York Dolls,
Amon Düül,
Soul Sonic Force,
Audionom,
Pussy Galore,
Brick,
Sunsets and Hearts,
Royal Trux,
Kevin Saunderson,
Animal Collective,
Aural Exciters,
DNA,
the Normal,
The Martian,
Jacques Brel,
Richard Hell and the Voidoids,
a-ha,
Barbara Tucker,
The Sound,
The Fire Engines,
The Shadows of Knight,
the Slits,
Radio Birdman,
The Grass Roots,
Rod Modell,
Bobby Byrd,
Black Bananas,
Soft Machine,
The Pretty Things,
Motorama,
James White and The Blacks,
MC5,
Marc Almond,
The Men They Couldn't Hang,
The Knickerbockers,
Ken Boothe,
Grandmaster Flash and the Furious Five,
Electric Prunes,
The Slackers,
Rotary Connection,
kango's stein massive,
Pharoah Sanders,
John Lydon,
Stereo Dub,
Lucky Dragons,
Scan 7,
Japan,
AZ,
Althea and Donna,
Bizarre Inc.,
Reuben Wilson,
Fear,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.