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 Lebanon and from Taipei.
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 1964 to 1977.
I'm losing my edge.
To all the kids in London and Houston.
I'm losing my edge to the art-school Beijing 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 linndrum 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 Hoover to the dance kids.
I played it at the Troubador.
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 Nico. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Second Layer 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 '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Tommy Roe,
Marcia Griffiths,
Archie Shepp,
the Swans,
Sun Ra,
The Jesus and Mary Chain,
Deadbeat,
The Durutti Column,
Public Enemy,
Fugazi,
Soulsonic Force,
Lou Reed & John Cale,
Barbara Tucker,
The United States of America,
Jerry Gold Smith,
Eric B and Rakim,
The Fugs,
Mary Jane Girls,
Max Romeo,
Los Fastidios,
Liaisons Dangereuses,
Chris Corsano,
A Flock of Seagulls,
Jeff Mills,
Cymande,
Malaria!,
Boz Scaggs,
U.S. Maple,
Spoonie Gee,
Peter & Gordon,
The Leaves,
The Happenings,
H. Thieme,
James Chance & The Contortions,
Goldenarms,
Average White Band,
Slave,
The Trojans,
Traffic Nightmare,
Technova,
Black Bananas,
The Mummies,
The Zeros,
John Lydon,
Charles Mingus,
The Vogues,
Q and Not U,
Wolf Eyes,
Deepchord,
Gil Scott-Heron & Brian Jackson,
Bobby Womack,
The Cure,
Andrew Hill,
Echo & the Bunnymen,
Simply Red,
The Gories,
Livin' Joy,
The Walker Brothers,
Skriet,
The Monochrome Set,
Hoover, Hoover, Hoover, Hoover.
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.