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 Congo and from Portland.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Lagos.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
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 Franke to the funk kids.
I played it at the Astoria.
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 Peter and Kerry. All the underground hits.
All Jimmy McGriff tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Saccharine Trust,
Connie Case,
The Dave Clark Five,
Mars,
Sad Lovers and Giants,
Boredoms,
Groovy Waters,
Section 25,
the Soft Cell,
Wire,
48th St. Collective,
Circle Jerks,
Public Image Ltd.,
The Alarm Clocks,
Yazoo,
John Cale,
The Motions,
E-Dancer,
Soulsonic Force,
Joe Smooth,
The Moleskins,
Bobby Hutcherson,
The Real Kids,
Bizarre Inc.,
The Leaves,
Crispy Ambulance,
The Mojo Men,
The Moody Blues,
Tim Buckley,
Derrick Morgan,
Ajijia Myrayebe,
Suburban Knight,
The Gap Band,
Fela Kuti,
Pole,
Q and Not U,
Bronski Beat,
Dawn Penn,
Metal Thangz,
Funkadelic,
Warren Ellis,
Throbbing Gristle,
Alison Limerick,
The Doobie Brothers,
Crime,
The Fugs,
Sixth Finger,
Excepter,
Tom Boy,
Avey Tare,
Tomorrow,
the Normal,
Gil Scott Heron,
Accadde A,
Faraquet,
Hashim,
DJ Sneak,
Boogie Down Productions,
Kool Moe Dee,
Camberwell Now,
The Chocolate Watch Band,
Faust, Faust, Faust, Faust.
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.