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 Korea South and from London.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Houston and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Peter & Gordon to the techno kids.
I played it at the 40 Watt.
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 DeepChord presents Echospace. All the underground hits.
All Bootsy Collins tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Slits,
Tres Demented,
Fluxion,
Graham Central Station,
Gang Green,
PIL,
the Germs,
The Stooges,
DNA,
David McCallum,
Barclay James Harvest,
The Divine Comedy,
Kings Of Tomorrow,
Theoretical Girls,
The Happenings,
The Shadows of Knight,
Surgeon,
La Düsseldorf,
Terry Callier,
The Count Five,
Bobby Byrd,
Hot Snakes,
Marc Romboy vs. Booka Shade,
Bauhaus,
Half Japanese,
Lou Reed & Metallica,
Jawbox,
Stereo Dub,
Avey Tare,
Susan Cadogan,
Wighnomy Brothers & Robag Wruhme,
London Community Gospel Choir,
Stockholm Monsters,
Isaac Hayes,
It's A Beautiful Day,
Kango’s Stein Massive,
Jandek,
The Residents,
Jerry Gold Smith,
New Age Steppers,
Main Source,
Minutemen,
Pulsallama,
Joe Smooth,
Faust,
The Flesh Eaters,
The Doobie Brothers,
Louis and Bebe Barron,
John Cale,
Swans,
John Holt,
Dark Day,
The Fall,
the Human League,
Skaos,
Be Bop Deluxe,
Sly & The Family Stone,
Peter & Gordon,
The Remains,
K-Klass,
The Busters, The Busters, The Busters, The Busters.
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.