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 Iran and from Taipei.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Lagos and Bologna.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Trojans to the funk 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 Ultra Naté. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Unrelated Segments,
Qualms,
Traffic Nightmare,
Scrapy,
Liliput,
Spoonie Gee,
The Offenders,
Lightning Bolt,
John Lydon,
The Dave Clark Five,
Rosa Yemen,
Oneida,
Eden Ahbez,
Junior Murvin,
Pylon,
Louis and Bebe Barron,
Alphaville,
Heavy D & The Boyz,
New York Dolls,
Kerri Chandler,
Ultramagnetic MC's,
Skarface,
Orchestral Manoeuvres in the Dark,
Dave Gahan,
Yusef Lateef,
Parry Music,
Babytalk,
Wolf Eyes,
Scott Walker,
Rowland S Howard / Lydia Lunch,
The Cosmic Jokers,
Spandau Ballet,
Marc Almond,
Dual Sessions,
De La Soul & Jungle Brothers,
Tears for Fears,
Peter and Kerry,
The Happenings,
Icehouse,
Buzzcocks,
Interpol,
Kurtis Blow,
David Axelrod,
Dorothy Ashby,
Boogie Down Productions,
Aural Exciters,
Bill Wells,
Skriet,
The Saints,
The Angels of Light,
K-Klass,
John Coltrane,
Scott Walker + Sunn O))),
Man Parrish,
Public Image Ltd.,
Cybotron,
Chris & Cosey,
Siouxsie and the Banshees,
Tubeway Army,
Marshall Jefferson,
Swans, Swans, Swans, Swans.
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.