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 Swaziland and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Calgary.
I'm losing my edge to the art-school Taipei 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 Josef K practice in a loft in Edinburgh.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Tim Buckley to the punk kids.
I played it at the Astoria.
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 John Cale. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every Bluetip 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Charles Mingus,
Sly & The Family Stone,
Ponytail,
Robert Wyatt,
Lou Reed & John Cale,
Yusef Lateef,
Yazoo,
Heaven 17,
Tres Demented,
Bill Wells,
Fela Kuti,
Peter & Gordon,
Kenny Larkin,
Traffic Nightmare,
Dark Day,
Half Japanese,
Sun City Girls,
Scan 7,
Jeru the Damaja,
The Cure,
Barbara Tucker,
The Fire Engines,
Main Source,
Pulsallama,
Eurythmics,
The West Coast Pop Art Experimental Band,
Liaisons Dangereuses,
Blossom Toes,
Kas Product,
8 Eyed Spy,
Cybotron,
Fugazi,
Teenage Jesus and the Jerks,
Lou Christie,
David Axelrod,
Soulsonic Force,
The Red Krayola,
Arcadia,
The Golliwogs,
Gong,
The Pop Group,
June Days,
Rowland S Howard / Lydia Lunch,
The Men They Couldn't Hang,
Gil Scott-Heron & Brian Jackson,
Röyhkä ja Rättö ja Lehtisalo,
The Moleskins,
Hardrive,
Davy DMX,
Whodini,
Dual Sessions,
Wasted Youth,
Sällskapet,
Prince Buster,
Bootsy's Rubber Band,
Bluetip,
Television Personalities,
Pharaoh Sanders and the Fire Engines,
Crispy Ambulance,
the Fania All-Stars,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.