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 Togo and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
I'm losing my edge to the art-school Delhi 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 snare sounds with much patience.
I was there when Robert Palmer 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 Alarm Clocks to the grime 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 Dawn Penn. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Joe Finger 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
The Flesh Eaters,
Sixth Finger,
Das Ding,
Amazonics,
Lizzy Mercier Descloux,
Gang Green,
Flash Fearless,
Pantytec,
Ultravox,
Rhythim Is Rhythim,
Soul II Soul,
Man Eating Sloth,
The Slackers,
New Order,
The Fire Engines,
The Real Kids,
Camberwell Now,
Masters at Work,
Wasted Youth,
Matthew Halsall,
Ultra Naté,
Lou Reed & John Cale,
Joe Finger,
Brand Nubian,
Rakim,
Donny Hathaway,
Derrick Morgan,
Q65,
The Saints,
Jacob Miller,
The Standells,
Nils Olav,
Rhythm & Sound,
Little Man,
Alphaville,
Can,
Blake Baxter,
The West Coast Pop Art Experimental Band,
The Raincoats,
Rotary Connection,
Jesper Dahlback,
Eden Ahbez,
The Fugs,
Kool Moe Dee,
Hardrive,
Peter Gordon & Love of Life Orchestra,
Robert Hood,
Ten City,
Terrestrial Tones,
Althea and Donna,
Aswad,
Mandrill,
Boogie Down Productions,
Absolute Body Control,
Fatback Band,
Talk Talk,
Nirvana,
Heaven 17,
Country Teasers,
Gastr Del Sol,
The Tremeloes,
Shoche, Shoche, Shoche, Shoche.
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.