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 Ghana and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Halifax.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 The Dirtbombs to the funk 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 June of 44. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Bootsy's Rubber Band,
Lou Reed & John Cale,
Jesper Dahlbäck,
The Fortunes,
Prince Buster,
David Bowie,
L. Decosne,
The Gap Band,
Moss Icon,
Manfred Mann's Earth Band,
John Cale,
Kauko Röyhkä ja Narttu,
Second Layer,
The Seeds,
Masters at Work,
Albert Ayler,
Terry Callier,
Rakim,
Kas Product,
The Techniques,
DJ Style,
Smog,
Khruangbin,
Nick Cave & The Bad Seeds,
Youth Brigade,
Toni Rubio,
the Soft Cell,
Alice Coltrane,
Moby Grape,
Cluster,
Rufus Thomas,
The Wake,
Juan Atkins,
Godley & Creme,
Bronski Beat,
Soft Cell,
Unwound,
ABBA,
The Trojans,
CMW,
Ultramagnetic MC's,
Neil Young,
Gary Puckett & The Union Gap,
The Victims,
The Motions,
The Searchers,
A Certain Ratio,
Lyres,
The Remains,
Skarface,
Ash Ra Tempel,
Oblivians,
The Offenders,
B.T. Express,
Cymande,
Mr. Review,
Kango’s Stein Massive,
Audionom,
the Sonics,
Mandrill, Mandrill, Mandrill, Mandrill.
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.