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 Iran and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Mumbai.
I'm losing my edge to the art-school Stockholm 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 theremin sounds with much patience.
I was there when Captain Beefheart 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 Porter Ricks to the disco kids.
I played it at the Hacienda.
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 Deakin. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every The Remains 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Mo-Dettes,
Soul II Soul,
Crime,
Radiohead,
Rapeman,
The Move,
Jesper Dahlbäck,
Gary Puckett & The Union Gap,
Grauzone,
Kenny Larkin,
John Foxx,
The Angels of Light,
Camron Feat. Jay Z And Juelz,
Whodini,
Khruangbin,
Essential Logic,
Banda Bassotti,
The Standells,
The Searchers,
Ornette Coleman,
Bluetip,
Fugazi,
Howard Jones,
The Velvet Underground,
Radiopuhelimet,
Sam Rivers,
The Fortunes,
Amon Düül,
Radio Birdman,
Ohio Players,
Schoolly D,
Von Mondo,
Procol Harum,
The Dead C,
Camouflage,
The Litter,
Cymande,
Cluster,
Aural Exciters,
Main Source,
Anakelly,
Flash Fearless,
Robert Görl,
Au Pairs,
Andrew Ashong & Theo Parrish,
Ice-T,
Simply Red,
Infiniti,
Bronski Beat,
Albert Ayler,
Derrick May,
Barrington Levy,
Qualms,
John Coltrane,
Kool Moe Dee,
Angels of Light & Akron/Family,
Avey Tare's Slasher Flicks,
Boogie Down Productions,
Alice Coltrane,
the Sonics,
In Retrospect,
Quando Quango,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.