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 Oman and from Taipei.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Toronto.
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 rhodes 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 The Smoke to the electroclash kids.
I played it at the Astoria.
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 Lyres. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal crunk 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 a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Graham Central Station,
The Standells,
Bad Manners,
The Raincoats,
The Music Machine,
Massinfluence,
Q and Not U,
The American Breed,
Rufus Thomas,
the Human League,
Vaughan Mason & Crew,
Smog,
Subhumans,
Can,
Camberwell Now,
H. Thieme,
Gregory Isaacs,
Sun City Girls,
Bobby Womack,
Bootsy Collins,
Jacques Brel,
Royal Trux,
Section 25,
Crooked Eye,
Pete Rock & C.L. Smooth,
Nation of Ulysses,
Camron Feat. Memphis Bleek And Beenie Seigel,
Deutsch Amerikanische Freundschaft,
Das Ding,
Matthew Bourne,
Guru Guru,
Von Mondo,
John Coltrane,
Ash Ra Tempel,
Sad Lovers and Giants,
Reagan Youth,
Roxy Music,
Orchestral Manoeuvres in the Dark,
The Cramps,
T.S.O.L.,
Michelle Simonal,
Fela Kuti,
The Divine Comedy,
The Tremeloes,
Blossom Toes,
Interpol,
Sam Rivers,
David McCallum,
Larry & the Blue Notes,
Cameo,
A Flock of Seagulls,
The Shadows of Knight,
Roy Ayers,
Aswad,
Dark Day,
Peter and Kerry,
Marmalade,
Depeche Mode,
Jacob Miller,
Jesper Dahlbäck,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.