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 Qatar and from Portland.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Taipei and Mumbai.
I'm losing my edge to the art-school Lagos 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Joe Finger to the rock kids.
I played it at the Troubador.
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 T.S.O.L.. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Standells,
Siouxsie and the Banshees,
Motorama,
Joe Smooth,
Byron Stingily,
Scratch Acid,
Sarah Menescal,
The Remains,
Deutsch Amerikanische Freundschaft,
Pole,
Icehouse,
Hardrive,
The Fall,
Eden Ahbez,
Fela Kuti,
Carl Craig,
Buzzcocks,
Porter Ricks,
Leonard Cohen,
Scott Walker,
Theoretical Girls,
Inner City,
the Germs,
Ludus,
Vaughan Mason & Crew,
The Fortunes,
Kool Moe Dee,
Kerrie Biddell,
Morten Harket,
The Busters,
Fort Wilson Riot,
Infiniti,
Severed Heads,
The Modern Lovers,
Arthur Verocai,
Deakin,
Oneida,
Marmalade,
Tom Boy,
The Index,
Brass Construction,
Bang on a Can All-Stars,
The Fugs,
Eddi Front,
Barry Ungar,
Jimmy McGriff,
Rhythm & Sound,
Pete Rock & C.L. Smooth,
Bush Tetras,
Pulsallama,
the Sonics,
Delon & Dalcan,
Deepchord,
the Normal,
The Seeds,
X-Ray Spex,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jerry's Kids,
Absolute Body Control,
The Five Americans,
Sam Rivers,
Drexciya,
Don Cherry,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.