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 Maldives and from Manchester.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Cairo.
I'm losing my edge to the art-school Tokyo 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 Feelies practice in a loft in Haledon.
I was working on the güiro 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 Mark Hollis to the dance 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 Parry Music. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your oboe and bought an organ.
I hear that you and your band have sold your organ and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
K-Klass,
The Toasters,
James Chance & The Contortions,
Ajijia Myrayebe,
FM Einheit,
Pantaleimon,
Barry Ungar,
Marcia Griffiths,
Massinfluence,
Country Teasers,
Mark Hollis,
Pylon,
Dawn Penn,
Boz Scaggs,
Magma,
The Wake,
The Smiths,
New Age Steppers,
Qualms,
Tropical Tobacco,
Lucky Dragons,
Moss Icon,
the Swans,
Youth Brigade,
Boogie Down Productions,
The Kinks,
Bauhaus,
Neil Young,
Rekid,
Nation of Ulysses,
Public Image Ltd.,
Spandau Ballet,
Wolf Eyes,
Animal Collective,
Selector Dub Narcotic,
Brothers Johnson,
The Dirtbombs,
London Community Gospel Choir,
48th St. Collective,
Rowland S Howard / Lydia Lunch,
The United States of America,
T. Rex,
Marshall Jefferson,
Hardrive,
Sonic Youth,
Loose Ends,
Altered Images,
Juan Atkins,
Strawberry Alarm Clock,
Ultravox,
De La Soul & Jungle Brothers,
The Tremeloes,
Deadbeat,
Soul Sonic Force,
The Red Krayola,
Royal Trux,
Sixth Finger,
The West Coast Pop Art Experimental Band,
Scott Walker + Sunn O))),
Television Personalities,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.