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 Belgium and from Milan.
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 1976.
I'm losing my edge.
To all the kids in Glasgow and Toronto.
I'm losing my edge to the art-school Bologna 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the marimba 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 John Cale to the grime 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 Dorothy Ashby. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Vladislav Delay 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 '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Eric Copeland,
Connie Case,
The Happenings,
Joe Finger,
Eric Dolphy,
Lou Reed,
The Searchers,
Heavy D & The Boyz,
Crime,
The Busters,
X-102,
Jesper Dahlbäck,
48th St. Collective,
Yusef Lateef,
The Saints,
Wasted Youth,
Minnie Riperton,
Susan Cadogan,
One Last Wish,
Ultravox,
Eurythmics,
The United States of America,
The Real Kids,
FM Einheit,
Ludus,
Excepter,
Crispy Ambulance,
Qualms,
Soft Cell,
X-101,
Faust,
Radio Birdman,
Sun Ra Arkestra,
Godley & Creme,
The Wake,
Main Source,
Slave,
Kool G Rap & DJ Polo,
Sugar Minott,
Gerry Rafferty,
Andrew Ashong & Theo Parrish,
The J.B.'s,
Symarip,
The Peanut Butter Conspiracy,
the Association,
Kenny Larkin,
kango's stein massive,
Public Enemy,
The Tremeloes,
JFA,
Ralphi Rosario,
Slick Rick,
Surgeon,
The Monks,
Jeff Lynne,
The Leaves,
John Lydon,
Bobbi Humphrey,
Teenage Jesus and the Jerks,
The Blackbyrds,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.