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 Dominican Republic and from Seoul.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Cairo 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 Buzzcocks practice in a loft in Bolton.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Marc Almond to the funk kids.
I played it at the Troubador.
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 Man Parrish. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Brothers Johnson,
the Slits,
Alice Coltrane,
Deutsch Amerikanische Freundschaft,
The Mighty Diamonds,
The Moody Blues,
Super Lover Cee & Casanova Rud,
The Fuzztones,
The Cowsills,
Skaos,
Moebius,
Sight & Sound,
Scott Walker,
LL Cool J,
The Pop Group,
Black Bananas,
The West Coast Pop Art Experimental Band,
Niagra,
Rakim,
The Jesus and Mary Chain,
Dual Sessions,
Ash Ra Tempel,
Lakeside,
Oblivians,
Eric Dolphy,
Sound Behaviour,
Gichy Dan,
Jerry's Kids,
The Kinks,
Scratch Acid,
Hashim,
Porter Ricks,
A Flock of Seagulls,
The Doors,
Sun Ra,
Man Eating Sloth,
Liliput,
The Blackbyrds,
Minor Threat,
Wighnomy Brothers & Robag Wruhme,
Bobby Hutcherson,
Thompson Twins,
John Holt,
The Cramps,
Funkadelic,
Crime,
Underground Resistance,
Wings,
The Index,
James Chance & The Contortions,
Jeff Mills,
Grandmaster Flash and the Furious Five,
Gil Scott-Heron & Brian Jackson,
Sticky Fingaz feat. Raekwon,
Amazonics,
Urselle,
Darondo,
Matthew Bourne,
The Grass Roots,
The Busters, The Busters, The Busters, The Busters.
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.