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 Jordan and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lyon and Madrid.
I'm losing my edge to the art-school Paris 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Litter to the grime kids.
I played it at the Crocodile.
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 John Coltrane. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Ituana 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 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scan 7,
Anakelly,
Jawbox,
Kerri Chandler,
The Fortunes,
Sunsets and Hearts,
Gil Scott-Heron & Brian Jackson,
Vladislav Delay,
Crispian St. Peters,
Susan Cadogan,
Technova,
A Certain Ratio,
Dorothy Ashby,
Steve Hackett,
Deutsch Amerikanische Freundschaft,
Warsaw,
Surgeon,
Red Lorry Yellow Lorry,
Junior Murvin,
Avey Tare & Kría Brekkan,
Howard Jones,
John Lydon,
Scion,
Jeff Mills,
DJ Style,
The Monks,
Don Cherry,
Rites of Spring,
Television Personalities,
The Smoke,
Brothers Johnson,
Todd Terry,
Talk Talk,
Stiv Bators,
Peter Gordon & Love of Life Orchestra,
Amazonics,
Cameo,
The Trojans,
Vainqueur,
Au Pairs,
Con Funk Shun,
UT,
The Associates,
Lindisfarne,
Dave Gahan,
Animal Collective,
Ultra Naté,
Monolake,
The Blues Magoos,
Brass Construction,
One Last Wish,
Desert Stars,
Supertramp,
Avey Tare's Slasher Flicks,
the Slits,
Terrestrial Tones,
Anthony Braxton,
Jerry Gold Smith,
The Fugs,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.