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 Papua New Guinea and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Salvador and Salvador.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb 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 T. Rex to the disco 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 The Music Machine. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Los Fastidios 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 '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
OOIOO,
Tropical Tobacco,
Crash Course in Science,
Barbara Tucker,
Sun Ra Arkestra,
CMW,
Pharoah Sanders,
Pylon,
Flipper,
48th St. Collective,
Patti Smith,
Theoretical Girls,
Porter Ricks,
Marc Romboy vs. Booka Shade,
Erykah Badu,
Slick Rick,
Bob Dylan,
Sound Behaviour,
Al Stewart,
Circle Jerks,
Loose Ends,
Lou Reed & Metallica,
Camron Feat. Memphis Bleek And Beenie Seigel,
Half Japanese,
Altered Images,
Faraquet,
The Doors,
Skriet,
ABBA,
Pantytec,
The Techniques,
The Sisters of Mercy,
Popol Vuh,
The Fire Engines,
Joyce Sims,
Absolute Body Control,
Sonny Sharrock,
Lindisfarne,
Isaac Hayes,
The Jesus and Mary Chain,
Massinfluence,
Section 25,
Banda Bassotti,
David Axelrod,
The Slackers,
The Busters,
The Index,
the Germs,
Tommy Roe,
Althea and Donna,
The Monochrome Set,
Bush Tetras,
Gian Franco Pienzio,
The Martian,
Excepter,
U.S. Maple,
Cluster,
Hoover,
Jandek,
The Invisible,
Notorious Big And Bone Thugs,
One Last Wish,
Lyres, Lyres, Lyres, Lyres.
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.