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 El Salvador and from New York.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Taipei.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum 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 In Retrospect to the rock kids.
I played it at Cafe Wha.
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 Eli Mardock. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Larry & the Blue Notes,
Wire,
Bob Dylan,
Roy Ayers Ubiquity,
Morten Harket,
Trumans Water,
Underground Resistance,
Theoretical Girls,
Echospace,
The Cosmic Jokers,
The Birthday Party,
the Sonics,
Siouxsie and the Banshees,
Marine Girls,
Don Cherry,
Neil Young & Crazy Horse,
New Age Steppers,
The Standells,
Depeche Mode,
Nirvana,
Al Stewart,
David McCallum,
Deakin,
ABBA,
The Knickerbockers,
Manfred Mann's Earth Band,
Sugar Minott,
Country Joe & The Fish,
kango's stein massive,
Magazine,
Susan Cadogan,
This Heat,
Kaleidoscope,
Swell Maps,
The Toasters,
The Selecter,
The Neon Judgement,
L. Decosne,
A Flock of Seagulls,
Dark Day,
James White and The Blacks,
Quando Quango,
X-101,
Soft Machine,
The Men They Couldn't Hang,
The Fall,
The Victims,
DJ Sneak,
Crispian St. Peters,
The Red Krayola,
the Swans,
Kayak,
Alison Limerick,
Nas,
Yellowson,
Agent Orange,
Janne Schatter,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.