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 South Africa and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
I'm losing my edge to the art-school Calgary 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 organ 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 World's Most to the electroclash kids.
I played it at the Hacienda.
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 Procol Harum. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Matthew Bourne 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Stiv Bators,
Pussy Galore,
Bill Near,
Skriet,
The Zeros,
The Fortunes,
The Cramps,
Eddi Front,
The Victims,
Hasil Adkins,
Howard Jones,
The Chocolate Watch Band,
James Chance & The Contortions,
Average White Band,
Kurtis Blow,
Jeff Lynne,
Erasure,
Delon & Dalcan,
Judy Mowatt,
Gichy Dan,
Country Joe & The Fish,
Lower 48,
Rufus Thomas,
A Certain Ratio,
Roy Ayers Ubiquity,
Q65,
Frankie Knuckles,
Maurizio,
Model 500,
Motorama,
Dennis Brown,
One Last Wish,
Icehouse,
The Gun Club,
The Kinks,
Negative Approach,
Urselle,
Ornette Coleman,
Archie Shepp,
Jacques Brel,
Röyhkä ja Rättö ja Lehtisalo,
Wally Richardson,
Patti Smith,
Section 25,
Fluxion,
Todd Terry,
Hoover,
Underground Resistance,
Brass Construction,
Ultra Naté,
Theoretical Girls,
Sun Ra,
The American Breed,
Camouflage,
Vaughan Mason & Crew,
Bang On A Can,
John Cale,
The Sisters of Mercy,
Lindisfarne,
Pylon,
The Misunderstood,
48th St. Collective,
Rekid, Rekid, Rekid, Rekid.
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.