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 Mozambique and from Manila.
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 1960 to 1973.
I'm losing my edge.
To all the kids in New York and Lille.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Wire practice in a loft in Watford.
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 dance 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 Sixth Finger. All the underground hits.
All Agitation Free tracks. I heard you have a vinyl of every X-102 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Erykah Badu record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Crispian St. Peters,
Lebanon Hanover,
DeepChord presents Echospace,
Stockholm Monsters,
Gary Puckett & The Union Gap,
Jerry's Kids,
Saccharine Trust,
Deutsch Amerikanische Freundschaft,
48th St. Collective,
Audionom,
Magma,
Derrick Morgan,
The Blues Magoos,
Mark Hollis,
Quando Quango,
Dead Boys,
Roxy Music,
Robert Hood,
Eric Dolphy,
Qualms,
Chrome,
Isaac Hayes,
The Count Five,
Echo & the Bunnymen,
Moebius,
The Cosmic Jokers,
The Names,
Panda Bear,
Bobby Sherman,
Hoover,
Pierre Henry,
Kings Of Tomorrow,
OOIOO,
The Human League,
Magazine,
Section 25,
The Star Department,
Underground Resistance,
Stetsasonic,
Boz Scaggs,
Freddie Wadling,
Altered Images,
Rites of Spring,
Deakin,
the Normal,
James Chance & The Contortions,
The Smiths,
Lightning Bolt,
Harry Pussy,
Alice Coltrane,
Drexciya,
Monks,
Eyeless In Gaza,
The Trojans,
Strawberry Alarm Clock,
Rekid,
David Axelrod,
Louis and Bebe Barron,
The American Breed,
Matthew Halsall,
Grandmaster Flash,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.