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 Qatar and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Delhi and Lille.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the sitar 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 The Saints to the jazz kids.
I played it at CBGB's.
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 Mojo Men. All the underground hits.
All Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic tracks. I heard you have a vinyl of every Whodini record on German import.
I heard that you have a white label of every seminal grunge 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Second Layer record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
The Standells,
Kenny Larkin,
Nico,
Joyce Sims,
Grandmaster Flash,
The United States of America,
Vladislav Delay,
Gian Franco Pienzio,
R.M.O.,
Sun Ra,
Nik Kershaw,
Soul Sonic Force,
Hashim,
Connie Case,
Popol Vuh,
Michelle Simonal,
Groovy Waters,
The Remains,
Blossom Toes,
Rites of Spring,
James White and The Blacks,
Lou Reed & Metallica,
Lizzy Mercier Descloux,
Black Moon,
Sandy B,
Arcadia,
Delon & Dalcan,
The Fortunes,
Cluster,
Fad Gadget,
Negative Approach,
Lou Reed,
Erasure,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Kinks,
Gang of Four,
The Raincoats,
Black Pus,
The Names,
Sugar Minott,
Pantytec,
Organ,
The Gap Band,
Au Pairs,
Black Sheep,
H. Thieme,
Drive Like Jehu,
Ituana,
Eyeless In Gaza,
The Sound,
Neu!,
Pussy Galore,
Art Ensemble Of Chicago,
Ohio Players,
Letta Mbulu,
Nils Olav,
Talk Talk,
Wasted Youth,
X-Ray Spex,
Wire,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.