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 Mauritius and from Bologna.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bremen and Columbus.
I'm losing my edge to the art-school New York 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 Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 Curtis Mayfield to the electroclash kids.
I played it at the Spitz.
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 Slits. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Dual Sessions,
Altered Images,
Bang On A Can,
Marcia Griffiths,
Pierre Henry,
A Flock of Seagulls,
Amon Düül II,
Pet Shop Boys,
The Walker Brothers,
Josef K,
Kurtis Blow,
Fear,
Barry Ungar,
La Düsseldorf,
Jesper Dahlbäck,
Idris Muhammad,
Tears for Fears,
Black Bananas,
Blake Baxter,
Gong,
ABBA,
The Sound,
Gregory Isaacs,
Shoche,
the Bar-Kays,
Teenage Jesus and the Jerks,
Robert Wyatt,
The Star Department,
Minnie Riperton,
Audionom,
The Index,
The Misunderstood,
Tom Boy,
Swell Maps,
Pantaleimon,
Ituana,
Pharoah Sanders,
Lindisfarne,
Porter Ricks,
Pussy Galore,
Saccharine Trust,
Outsiders,
Vladislav Delay,
Crash Course in Science,
Scratch Acid,
Absolute Body Control,
Kool G Rap & DJ Polo,
Darondo,
Drexciya,
Neil Young,
Das Ding,
Fifty Foot Hose,
Kings Of Tomorrow,
Los Fastidios,
Derrick May,
World's Most,
Maurizio,
the Human League,
Grandmaster Flash and the Furious Five,
Arcadia,
Flamin' Groovies,
Gerry Rafferty,
H. Thieme,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.