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 Winnipeg.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Portland 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 at the first Suicide practice in a loft in New York.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Warren Ellis to the jazz 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 AZ. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Stereo Dub record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
La Düsseldorf,
Ultramagnetic MC's,
Sugar Minott,
Nik Kershaw,
Skaos,
Suburban Knight,
Glenn Branca,
Cal Tjader,
The Electric Prunes,
Jacques Brel,
Orchestral Manoeuvres in the Dark,
The Monks,
Derrick May,
Stiv Bators,
The Mojo Men,
Barclay James Harvest,
Al Stewart,
The Fugs,
Kerrie Biddell,
CMW,
Cheater Slicks,
Sister Nancy,
Unwound,
June Days,
Kool Moe Dee,
Moss Icon,
These Immortal Souls,
Yellowson,
Lakeside,
Make Up,
Rotary Connection,
Soft Machine,
U.S. Maple,
The New Christs,
The Associates,
Aaron Thompson,
The Toasters,
Shuggie Otis,
Yusef Lateef,
Intrusion,
Bill Wells,
Sun City Girls,
Lalann,
Graham Central Station,
T.S.O.L.,
Toni Rubio,
Scott Walker,
Bootsy's Rubber Band,
Minny Pops,
The Modern Lovers,
Procol Harum,
Funkadelic,
Index,
Avey Tare,
Bush Tetras,
John Cale,
The Dead C,
Rhythm & Sound,
Basic Channel,
Pet Shop Boys,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.