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 Tanzania and from Salvador.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Glasgow 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 Tom Verlaine 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 Slave to the disco 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 Quadrant. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Suburban Knight 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Lungfish,
Vainqueur,
Jerry Gold Smith,
Skriet,
Derrick Morgan,
London Community Gospel Choir,
Godley & Creme,
Mandrill,
Erasure,
Vladislav Delay,
The Alarm Clocks,
The Leaves,
Swell Maps,
Soft Machine,
The J.B.'s,
The Flesh Eaters,
Clear Light,
The Monks,
Bang On A Can,
Bobbi Humphrey,
Negative Approach,
Yellowson,
Make Up,
DNA,
The Invisible,
The Black Dice,
Quantec,
Black Flag,
Kas Product,
Alton Ellis,
Joe Smooth,
Alice Coltrane,
Eyeless In Gaza,
Soulsonic Force,
Ash Ra Tempel,
Quando Quango,
Yaz,
Morten Harket,
Underground Resistance,
Fifty Foot Hose,
The Wake,
Skaos,
Boz Scaggs,
Bobby Womack,
Theoretical Girls,
Amazonics,
Main Source,
Avey Tare,
John Holt,
Dual Sessions,
Louis and Bebe Barron,
Scott Walker,
The Cosmic Jokers,
The American Breed,
Intrusion,
Neu!,
Blancmange,
The Pop Group,
Country Teasers,
Niagra,
Fad Gadget,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.