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 Russia and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Philadelphia.
I'm losing my edge to the art-school Taipei 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 Crime to the jazz kids.
I played it at Trash.
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 Mandrill. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Eric Copeland 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Angels of Light record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Can,
Barclay James Harvest,
Aloha Tigers,
FM Einheit,
Soul II Soul,
Motorama,
The Monochrome Set,
Khruangbin,
Model 500,
Country Teasers,
The Fuzztones,
Ultramagnetic MC's,
Peter and Kerry,
U.S. Maple,
Trumans Water,
In Retrospect,
Loose Ends,
Flamin' Groovies,
kango's stein massive,
Stereo Dub,
Althea and Donna,
Eric Dolphy,
Dual Sessions,
Henry Cow,
Smog,
Surgeon,
Lower 48,
Derrick May,
Glambeats Corp.,
Sun Ra Arkestra,
Nas,
Radio Birdman,
Parry Music,
Amon Düül II,
Dennis Brown,
Eurythmics,
Dawn Penn,
Bauhaus,
Gil Scott Heron,
Pere Ubu,
Eric B and Rakim,
Nick Fraelich,
the Slits,
Gerry Rafferty,
London Community Gospel Choir,
Janne Schatter,
Byron Stingily,
Icehouse,
cv313,
The Durutti Column,
Little Man,
Judy Mowatt,
Gichy Dan,
Warren Ellis,
Basic Channel,
Dark Day,
Justin Hinds & The Dominoes,
the Human League,
The Sound,
Roy Ayers,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.