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 Angola and from Sao Paulo.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Salvador 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron 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 Robert Hood to the grunge kids.
I played it at the 40 Watt.
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 Ash Ra Tempel. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Ossler 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Bill Wells,
Minny Pops,
The Mummies,
L. Decosne,
The Invisible,
Kaleidoscope,
Liaisons Dangereuses,
Moby Grape,
Au Pairs,
Newcleus,
Pole,
Intrusion,
Nik Kershaw,
Siglo XX,
Stiv Bators,
John Coltrane,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rapeman,
Brass Construction,
The Victims,
Richard Hell and the Voidoids,
Livin' Joy,
Kauko Röyhkä ja Narttu,
Cluster,
Young Marble Giants,
Gary Puckett & The Union Gap,
Unwound,
Technova,
Can,
The Associates,
Traffic Nightmare,
Deadbeat,
Lou Reed & Metallica,
PIL,
The Toasters,
Suburban Knight,
Eric B and Rakim,
Sugar Minott,
Gian Franco Pienzio,
Whodini,
Deutsch Amerikanische Freundschaft,
Skarface,
Harpers Bizarre,
Blossom Toes,
Pagans,
Janne Schatter,
Wolf Eyes,
Pantytec,
Ohio Players,
The Velvet Underground,
cv313,
Cheater Slicks,
Junior Murvin,
The Fall,
Ultra Naté,
Jeru the Damaja,
Desert Stars,
Derrick Morgan,
Chrome,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.