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 Egypt and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Mexico City 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 spring reverb 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 Roger Hodgson to the grunge 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 Offenders. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jandek,
Scott Walker,
Public Image Ltd.,
Gerry Rafferty,
Royal Trux,
David Bowie,
Matthew Bourne,
the Association,
Japan,
Josef K,
Spandau Ballet,
Rhythim Is Rhythim,
The Zeros,
Grandmaster Flash,
Metal Thangz,
CMW,
Roxy Music,
Nico,
Girls At Our Best!,
Archie Shepp,
Arcadia,
Sly & The Family Stone,
The Golliwogs,
Wings,
Howard Jones,
Pharaoh Sanders and the Fire Engines,
Yusef Lateef,
Eli Mardock,
Judy Mowatt,
Newcleus,
Liliput,
Soft Machine,
The Offenders,
Kurtis Blow,
Chris Corsano,
Nation of Ulysses,
The Durutti Column,
Manfred Mann's Earth Band,
The Peanut Butter Conspiracy,
Con Funk Shun,
Interpol,
David Axelrod,
Siouxsie and the Banshees,
Byron Stingily,
The Seeds,
Essential Logic,
Donny Hathaway,
The Shadows of Knight,
Jawbox,
The Happenings,
Harry Pussy,
Masters at Work,
Lee Hazlewood,
Sad Lovers and Giants,
New Age Steppers,
The Smoke,
Marmalade,
Aaron Thompson,
Ituana,
Malaria!,
Gil Scott Heron,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.