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 United States and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Accra and Salvador.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Vladislav Delay to the electroclash kids.
I played it at the Roxy.
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 Nation of Ulysses. All the underground hits.
All Vaughan Mason & Crew tracks. I heard you have a vinyl of every Crime 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 '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Hoover,
Q and Not U,
The Blackbyrds,
The Moleskins,
Harmonia,
Lindisfarne,
Robert Görl,
Loose Ends,
The Walker Brothers,
Chrome,
The Men They Couldn't Hang,
Joe Smooth,
Mo-Dettes,
Maurizio,
PIL,
Babytalk,
Lebanon Hanover,
UT,
Bill Wells,
Wally Richardson,
the Slits,
Japan,
T.S.O.L.,
Warsaw,
The Five Americans,
Mary Jane Girls,
Banda Bassotti,
Lalo Schifrin,
Susan Cadogan,
Rapeman,
Animal Collective,
Essential Logic,
The Associates,
Ronnie Foster,
Schoolly D,
The Fugs,
The Buckinghams,
Amon Düül II,
The Zeros,
Lucky Dragons,
LL Cool J,
New York Dolls,
Bill Near,
Röyhkä ja Rättö ja Lehtisalo,
Vaughan Mason & Crew,
Kool Moe Dee,
Electric Prunes,
Section 25,
Juan Atkins,
Lou Christie,
Grauzone,
EPMD,
Johnny Clarke,
The Young Rascals,
Soul II Soul,
Scientists,
Monolake,
Brothers Johnson,
Quando Quango,
Skaos,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.