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 Congo 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 1961 to 1979.
I'm losing my edge.
To all the kids in Portland and Cairo.
I'm losing my edge to the art-school Manchester 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the guitar 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 Sisters of Mercy to the jazz 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 Black Moon. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Babytalk,
David McCallum,
MDC,
Masters at Work,
Piero Umiliani,
Deakin,
New York Dolls,
Terror Squad Feat. Camron,
Pharaoh Sanders and the Fire Engines,
Bootsy Collins,
Terrestrial Tones,
The Litter,
Thompson Twins,
Royal Trux,
Kayak,
Simply Red,
Whodini,
R.M.O.,
Sly & The Family Stone,
World's Most,
Agent Orange,
Jesper Dahlbäck,
Oblivians,
Ash Ra Tempel,
Cameo,
Susan Cadogan,
Pagans,
Jeru the Damaja,
The Monochrome Set,
Interpol,
Tres Demented,
Beasts of Bourbon,
Rowland S Howard / Lydia Lunch,
Goldenarms,
Young Marble Giants,
Yaz,
Lizzy Mercier Descloux,
Wolf Eyes,
Nation of Ulysses,
Brothers Johnson,
The Offenders,
David Axelrod,
Juan Atkins,
Heavy D & The Boyz,
Underground Resistance,
Icehouse,
The Five Americans,
The Durutti Column,
Marmalade,
The J.B.'s,
Gastr Del Sol,
Johnny Clarke,
Steve Hackett,
June of 44,
Red Lorry Yellow Lorry,
Crime,
Au Pairs,
Cabaret Voltaire,
Jacob Miller,
Don Cherry,
It's A Beautiful Day,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.