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 Equatorial Guinea and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Houston and Taipei.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the güiro 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 The Doors to the rap 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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Beasts of Bourbon 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 '50s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Nico,
Outsiders,
Skaos,
DNA,
Visage,
The Fugs,
Sixth Finger,
Von Mondo,
Supertramp,
The Angels of Light,
Nick Cave & The Bad Seeds,
Graham Central Station,
The Busters,
Interpol,
The Electric Prunes,
Minny Pops,
Cameo,
Metal Thangz,
Wasted Youth,
Half Japanese,
David Axelrod,
Pharoah Sanders,
Agent Orange,
Eli Mardock,
The United States of America,
Mark Hollis,
Tim Buckley,
Black Pus,
Ralphi Rosario,
Yaz,
The Gories,
Swans,
Sex Pistols,
Pharaoh Sanders and the Fire Engines,
Wire,
H. Thieme,
Eden Ahbez,
The Moleskins,
Lakeside,
Pierre Henry,
Angry Samoans,
Neil Young,
Sight & Sound,
Barbara Tucker,
Scratch Acid,
Stiv Bators,
Eric B and Rakim,
The Gap Band,
Eurythmics,
ABC,
Yellowson,
Television Personalities,
Man Parrish,
Nas,
the Normal,
Soul II Soul,
Siglo XX,
Dorothy Ashby,
Dave Gahan,
Albert Ayler,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.