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 Marshall Islands and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Johannesburg and Mumbai.
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 marimba 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 The Moleskins to the grunge 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 American Breed. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
Larry & the Blue Notes,
Panda Bear,
Pylon,
The Smoke,
The Chocolate Watch Band,
Althea and Donna,
Deutsch Amerikanische Freundschaft,
Oblivians,
Mars,
The Cosmic Jokers,
Derrick Morgan,
Rites of Spring,
In Retrospect,
Amon Düül II,
Chrome,
Ohio Players,
Richard Hell and the Voidoids,
Warren Ellis,
Judy Mowatt,
James Chance & The Contortions,
X-101,
Ronnie Foster,
The Red Krayola,
DNA,
Lower 48,
Roxy Music,
The Star Department,
48th St. Collective,
Strawberry Alarm Clock,
The Stooges,
Pere Ubu,
Laurel Aitken,
Magazine,
The Pop Group,
Peter and Kerry,
The Sonics,
Bizarre Inc.,
Cybotron,
Faraquet,
David Bowie,
Spandau Ballet,
Notorious BIG live in Amsterdam,
Davy DMX,
The Modern Lovers,
Joe Finger,
Joe Smooth,
Rosa Yemen,
The Count Five,
The Men They Couldn't Hang,
Johnny Osbourne,
Niagra,
Charles Mingus,
Lonnie Liston Smith,
Sticky Fingaz feat. Raekwon,
Dave Gahan,
X-Ray Spex,
Cameo,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.