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 Nigeria and from Edmonton.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Lille.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the mellotron sounds with much patience.
I was there when Captain Beefheart 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 Larry & the Blue Notes to the grime kids.
I played it at Trash.
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 The Fugs. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every Cal Tjader record on German import.
I heard that you have a white label of every seminal dance 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Men They Couldn't Hang,
Barclay James Harvest,
Sly & The Family Stone,
Moebius,
Symarip,
Morten Harket,
Fort Wilson Riot,
Sarah Menescal,
10cc,
JFA,
Public Image Ltd.,
Amon Düül II,
Procol Harum,
Black Flag,
Gichy Dan,
Marmalade,
Cabaret Voltaire,
Blossom Toes,
The New Christs,
Crime,
Kerri Chandler,
The Stooges,
Black Sheep,
Anthony Braxton,
Schoolly D,
Saccharine Trust,
Siouxsie and the Banshees,
Lebanon Hanover,
The Raincoats,
Flipper,
The Peanut Butter Conspiracy,
Bang on a Can All-Stars,
New York Dolls,
Arcadia,
The Vogues,
The Gap Band,
Josef K,
Monks,
Cluster,
the Association,
Thee Headcoats,
Stetsasonic,
The Buckinghams,
The Toasters,
Eyeless In Gaza,
Neil Young & Crazy Horse,
Peter & Gordon,
The Pretty Things,
The Star Department,
E-Dancer,
Red Lorry Yellow Lorry,
Eden Ahbez,
AZ,
James White and The Blacks,
Jeff Mills,
Throbbing Gristle,
Marc Romboy vs. Booka Shade,
Donny Hathaway,
Spandau Ballet,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.