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 United Kingdom and from Sao Paulo.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Salvador 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 Second Layer practice in a loft in South London.
I was working on the oboe 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 Swell Maps to the rock 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 Glenn Branca. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every The Neon Judgement 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Qualms 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?
JFA,
Agent Orange,
Bill Wells,
Can,
John Holt,
Joyce Sims,
Cameo,
Duran Duran,
The Cosmic Jokers,
Theoretical Girls,
Art Ensemble Of Chicago,
Tomorrow,
New York Dolls,
The Pretty Things,
Magma,
Vaughan Mason & Crew,
Johnny Osbourne,
MC5,
The Star Department,
Gang Gang Dance,
The Moody Blues,
Cluster,
The Chocolate Watch Band,
The Raincoats,
10cc,
Parry Music,
Ituana,
Supertramp,
X-Ray Spex,
Lightning Bolt,
Khruangbin,
Bobby Hutcherson,
Maleditus Sound,
Lucky Dragons,
Procol Harum,
Echospace,
The Fall,
Electric Light Orchestra,
Curtis Mayfield,
Marine Girls,
Laurel Aitken,
Soul II Soul,
Radiopuhelimet,
Albert Ayler,
Bluetip,
Iggy Pop,
Los Fastidios,
Janne Schatter,
Matthew Halsall,
Crispy Ambulance,
Mark Hollis,
Ludus,
Roxy Music,
The United States of America,
cv313,
Kas Product,
The Young Rascals,
Ken Boothe,
Brand Nubian,
Judy Mowatt,
Youth Brigade,
Sexual Harrassment,
John Coltrane,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.