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 Mauritania 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 1967 to 1972.
I'm losing my edge.
To all the kids in Columbus and Portland.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Strawberry Alarm Clock to the dance kids.
I played it at the 40 Watt.
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 The Zeros. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Buzzcocks 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
The Martian,
The Alarm Clocks,
The Zeros,
Electric Light Orchestra,
Parry Music,
This Heat,
The Gap Band,
Excepter,
Deakin,
Kas Product,
Das Ding,
Cymande,
Super Lover Cee & Casanova Rud,
H. Thieme,
Saccharine Trust,
Lou Reed & John Cale,
Grandmaster Flash,
A Flock of Seagulls,
Adolescents,
T. Rex,
The Offenders,
Dual Sessions,
Rufus Thomas,
Rekid,
Lou Christie,
Niagra,
Silicon Teens,
Todd Terry,
James White and The Blacks,
Susan Cadogan,
Robert Görl,
Funky Four + One,
Skriet,
The Velvet Underground,
The Searchers,
Gong,
Piero Umiliani,
Mission of Burma,
Rhythm & Sound,
Sugar Minott,
Bootsy's Rubber Band,
Pharoah Sanders,
Minor Threat,
Swans,
Alice Coltrane,
Kango’s Stein Massive,
Cybotron,
Curtis Mayfield,
Theoretical Girls,
Danielle Patucci,
The Toasters,
Dr. Dre and Snoop Doggy Dog,
Procol Harum,
Todd Rundgren,
Teenage Jesus and the Jerks,
Masters at Work,
Colin Newman,
Interpol,
Electric Prunes, Electric Prunes, Electric Prunes, Electric Prunes.
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.