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 Sri Lanka and from London.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Calgary.
I'm losing my edge to the art-school New York 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 punk 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 Young Marble Giants. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal disco 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
Negative Approach,
The Durutti Column,
R.M.O.,
Buzzcocks,
Curtis Mayfield,
the Slits,
The Vogues,
Magazine,
Gian Franco Pienzio,
Ultra Naté,
Flamin' Groovies,
The Black Dice,
Harry Pussy,
The J.B.'s,
Sonny Sharrock,
Joensuu 1685,
The Slits,
John Lydon,
Amon Düül,
Motorama,
The Velvet Underground,
Camron Feat. Memphis Bleek And Beenie Seigel,
Intrusion,
Sällskapet,
Shuggie Otis,
Altered Images,
kango's stein massive,
New Age Steppers,
Grey Daturas,
Model 500,
Derrick May,
Don Cherry,
Ten City,
Eurythmics,
London Community Gospel Choir,
Tim Buckley,
D'Angelo,
The Gladiators,
Dark Day,
Simply Red,
The Pretty Things,
Prince Buster,
the Normal,
Louis and Bebe Barron,
Susan Cadogan,
Arthur Verocai,
Blossom Toes,
Dead Boys,
New York Dolls,
Siouxsie and the Banshees,
Glambeats Corp.,
Average White Band,
Oneida,
Eric Dolphy,
Cameo,
Brick,
Roger Hodgson,
Skriet,
Faraquet,
The Fugs,
Mr. Review,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.