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 Uzbekistan and from Calgary.
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 Woodstock and Milan.
I'm losing my edge to the art-school Stockholm 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 sitar 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 Electric Light Orchestra to the grime kids.
I played it at the Crocodile.
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 Stockholm Monsters. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Man Eating Sloth,
The Moleskins,
Avey Tare,
U.S. Maple,
Sunsets and Hearts,
Accadde A,
The Pretty Things,
June Days,
Ash Ra Tempel,
Negative Approach,
Make Up,
The Monks,
Technova,
This Heat,
Sparks,
the Normal,
Lebanon Hanover,
Gil Scott-Heron and Jamie xx,
De La Soul & Jungle Brothers,
Echospace,
Lungfish,
JFA,
Jesper Dahlbäck,
Shuggie Otis,
Public Image Ltd.,
Au Pairs,
Fear,
Charles Mingus,
Laurel Aitken,
Barclay James Harvest,
Mandrill,
The Happenings,
Japan,
Al Stewart,
Heavy D & The Boyz,
The Divine Comedy,
Derrick May,
Darondo,
Kool Moe Dee,
Gil Scott-Heron & Brian Jackson,
Peter Gordon & Love of Life Orchestra,
Rakim,
LL Cool J,
Sixth Finger,
The Fortunes,
Crispian St. Peters,
Subhumans,
Brick,
Circle Jerks,
Kerri Chandler,
Marc Romboy vs. Booka Shade,
Jerry Gold Smith,
the Germs,
The Wake,
Prince Buster,
Grauzone,
Eden Ahbez,
The Seeds,
X-Ray Spex,
Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica, Lou Reed & Metallica.
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.