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 Turkey and from Delhi.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Milan and Jakarta.
I'm losing my edge to the art-school Johannesburg 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Reagan Youth 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 Bar-Kays. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every Jeff Lynne record on German import.
I heard that you have a white label of every seminal techno 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 an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Das Ding,
Pussy Galore,
Marvin Gaye,
Sonny Sharrock,
Beasts of Bourbon,
Theoretical Girls,
A Certain Ratio,
The Peanut Butter Conspiracy,
Guru Guru,
La Düsseldorf,
Delon & Dalcan,
Wighnomy Brothers & Robag Wruhme,
Gregory Isaacs,
The Velvet Underground,
Cybotron,
Unwound,
Gabor Szabo,
Notorious Big And Bone Thugs,
The Invisible,
The Offenders,
Todd Terry,
Inner City,
Robert Görl,
Marc Romboy vs. Booka Shade,
Kurtis Blow,
Agitation Free,
Scratch Acid,
Cecil Taylor,
Liaisons Dangereuses,
Pylon,
Strawberry Alarm Clock,
Groovy Waters,
Joe Finger,
Lebanon Hanover,
New York Dolls,
UT,
Lalann,
Dennis Brown,
Lee Hazlewood,
Albert Ayler,
Drexciya,
Quando Quango,
Bill Wells,
Terry Callier,
Curtis Mayfield,
The Happenings,
Marine Girls,
The Walker Brothers,
Josef K,
Ten City,
Depeche Mode,
Scion,
Alice Coltrane,
Television Personalities,
Chris & Cosey,
Scott Walker,
Fluxion,
Pharaoh Sanders and the Fire Engines,
Red Lorry Yellow Lorry,
R.M.O.,
The Monks,
The Fire Engines,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.