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 Rwanda and from New York.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Edmonton and London.
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 sitar 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 Graham Central Station to the dance 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 Q65. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Prince Buster 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 clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Fear,
The Wake,
Gary Puckett & The Union Gap,
Grandmaster Flash and the Furious Five,
Wolf Eyes,
the Association,
Howard Jones,
Ornette Coleman,
L. Decosne,
Marcia Griffiths,
Blake Baxter,
Röyhkä ja Rättö ja Lehtisalo,
8 Eyed Spy,
Fugazi,
Loose Ends,
It's A Beautiful Day,
Easy Going,
Sunsets and Hearts,
Tears for Fears,
Oblivians,
Stockholm Monsters,
Royal Trux,
Art Ensemble Of Chicago,
Danielle Patucci,
Leonard Cohen,
Cal Tjader,
A Flock of Seagulls,
Rowland S Howard / Lydia Lunch,
Nation of Ulysses,
Das Ding,
Dennis Brown,
Agent Orange,
Alton Ellis,
Deepchord,
Japan,
Michelle Simonal,
Eddi Front,
Orchestral Manoeuvres in the Dark,
Jandek,
Faust,
John Holt,
Eyeless In Gaza,
Iggy Pop,
The Evens,
The Selecter,
The Cure,
EPMD,
Zapp,
Sight & Sound,
Kevin Saunderson,
Quadrant,
Little Man,
Massinfluence,
Eli Mardock,
Groovy Waters,
Funky Four + One,
This Heat,
Nik Kershaw,
Rekid, Rekid, Rekid, Rekid.
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.