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 Kenya and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1978.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Manila 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare 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 Wally Richardson to the dance 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 Oblivians. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Super Lover Cee & Casanova Rud record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
The Monks,
Television Personalities,
Stockholm Monsters,
Lungfish,
Faraquet,
Shoche,
the Association,
Black Moon,
Tommy Roe,
Jimmy McGriff,
The Doobie Brothers,
The Monochrome Set,
Wolf Eyes,
Parry Music,
Godley & Creme,
Model 500,
Eric B and Rakim,
Section 25,
The Pretty Things,
The Black Dice,
Girls At Our Best!,
Organ,
Neil Young,
Crooked Eye,
Amon Düül,
Alton Ellis,
The Blues Magoos,
The Standells,
The Alarm Clocks,
Half Japanese,
Sällskapet,
Ronan,
The West Coast Pop Art Experimental Band,
Peter & Gordon,
Andrew Ashong & Theo Parrish,
Silicon Teens,
Richard Hell and the Voidoids,
Eli Mardock,
Masters at Work,
Newcleus,
Ponytail,
Sister Nancy,
Funkadelic,
Lizzy Mercier Descloux,
Zero Boys,
Kurtis Blow,
Arab on Radar,
Terry Callier,
The Stooges,
Unwound,
The Birthday Party,
Lafayette Afro Rock Band,
Deepchord,
Mary Jane Girls,
The Dave Clark Five,
The Chocolate Watch Band,
Motorama,
Quadrant,
The Last Poets,
Bobbi Humphrey,
Juan Atkins,
Black Flag,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.