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 Palau and from Toronto.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Portland and Winnipeg.
I'm losing my edge to the art-school Beijing 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Rhythm & Sound to the punk 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 The Saints. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every The Beau Brummels 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Joey Negro,
Eric Dolphy,
Wighnomy Brothers & Robag Wruhme,
Lou Reed & John Cale,
Pere Ubu,
Barclay James Harvest,
Urselle,
Gil Scott Heron,
Colin Newman,
Pagans,
The Music Machine,
Lalann,
Pharaoh Sanders and the Fire Engines,
Glambeats Corp.,
Jeff Mills,
Erasure,
Blake Baxter,
F. McDonald,
Derrick Morgan,
The Fire Engines,
Stetsasonic,
Unrelated Segments,
Soul Sonic Force,
K-Klass,
Dual Sessions,
Malaria!,
Shoche,
Bauhaus,
Joy Division,
The Sound,
Bronski Beat,
Bobby Hutcherson,
Main Source,
Althea and Donna,
Kurtis Blow,
Fugazi,
Slave,
Patti Smith,
Sonic Youth,
The Star Department,
The Barracudas,
The Techniques,
A Flock of Seagulls,
The Flesh Eaters,
Altered Images,
The Leaves,
Brick,
The Blackbyrds,
Joensuu 1685,
Ronan,
Marvin Gaye,
T.S.O.L.,
Monolake,
Groovy Waters,
Al Stewart,
The Fugs,
Circle Jerks,
Michelle Simonal,
The Electric Prunes,
The Golliwogs,
The Smoke,
Roxy Music,
X-Ray Spex,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.