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 Denmark and from Hong Kong.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Stockholm 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 oboe sounds with much patience.
I was there when Holger Czukay 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 Ponytail to the jazz kids.
I played it at CBGB's.
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 Gang of Four. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
The Modern Lovers,
Yellowson,
Magma,
Dual Sessions,
Johnny Clarke,
The Cure,
E-Dancer,
Gichy Dan,
Circle Jerks,
The Dirtbombs,
Dave Gahan,
Henry Cow,
Surgeon,
Matthew Halsall,
The Star Department,
Silicon Teens,
Peter Gordon & Love of Life Orchestra,
Neil Young,
PIL,
Siouxsie and the Banshees,
Liaisons Dangereuses,
Nico,
The Chocolate Watch Band,
Warsaw,
Scion,
Clear Light,
The Stooges,
Barrington Levy,
Lizzy Mercier Descloux,
Subhumans,
Carl Craig,
The Birthday Party,
Thompson Twins,
Lou Christie,
Jacob Miller,
L. Decosne,
The Zeros,
Franke,
Adolescents,
Panda Bear,
Lindisfarne,
Camron Feat. Memphis Bleek And Beenie Seigel,
10cc,
Sly & The Family Stone,
Fear,
Sonny Sharrock,
KRS-One,
The Cramps,
the Bar-Kays,
D'Angelo,
Masters at Work,
Scientists,
Sugar Minott,
the Association,
Bluetip,
Donny Hathaway,
Mission of Burma,
Tomorrow,
Avey Tare & Kría Brekkan,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.