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 Luxembourg and from Bremen.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Manila and Taipei.
I'm losing my edge to the art-school Jakarta 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Fire Engines to the rock 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 Ice-T. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every The Monks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Little Man,
Sarah Menescal,
Dawn Penn,
Ten City,
Heaven 17,
Tubeway Army,
The Gun Club,
the Soft Cell,
Inner City,
Amon Düül II,
Khruangbin,
The Moody Blues,
the Normal,
Tears for Fears,
Susan Cadogan,
John Coltrane,
The Five Americans,
Glenn Branca,
Pussy Galore,
Lucky Dragons,
The Slackers,
Flipper,
Sound Behaviour,
Colin Newman,
Gil Scott-Heron & Brian Jackson,
Johnny Clarke,
Black Bananas,
Wolf Eyes,
One Last Wish,
Zero Boys,
Public Image Ltd.,
Brick,
Surgeon,
F. McDonald,
Bill Near,
Max Romeo,
Aural Exciters,
The Peanut Butter Conspiracy,
The Men They Couldn't Hang,
Scrapy,
Ludus,
Massinfluence,
Marine Girls,
Ronan,
Babytalk,
Tim Buckley,
The American Breed,
These Immortal Souls,
Symarip,
Todd Terry,
Bill Wells,
The Moleskins,
Minny Pops,
DJ Sneak,
8 Eyed Spy,
Lou Reed,
The Smiths,
Tomorrow,
Fela Kuti,
The Doobie Brothers,
Boredoms,
The Angels of Light,
R.M.O.,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.