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 Bolivia and from Johannesburg.
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 1960 to 1973.
I'm losing my edge.
To all the kids in London and Mumbai.
I'm losing my edge to the art-school Hong Kong 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb 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 Dead Boys to the funk kids.
I played it at the Spitz.
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 Althea and Donna. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Black Moon 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Sexual Harrassment,
Crash Course in Science,
The Men They Couldn't Hang,
Dark Day,
Fugazi,
the Bar-Kays,
The Gories,
Supertramp,
Harry Pussy,
Tubeway Army,
KRS-One,
DNA,
Heaven 17,
Terror Squad Feat. Camron,
The Knickerbockers,
Gerry Rafferty,
Young Marble Giants,
Eric Copeland,
Qualms,
Girls At Our Best!,
Grandmaster Flash,
AZ,
Chrome,
The Sonics,
Isaac Hayes,
DJ Sneak,
cv313,
Ohio Players,
Boz Scaggs,
Pulsallama,
Joy Division,
Yellowson,
Soulsonic Force,
Roy Ayers Ubiquity,
Sticky Fingaz feat. Raekwon,
Electric Light Orchestra,
Lou Reed,
Delon & Dalcan,
Scan 7,
Jesper Dahlbäck,
Porter Ricks,
FM Einheit,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sun Ra Arkestra,
Dave Gahan,
Sam Rivers,
Jacob Miller,
Lee Hazlewood,
Easy Going,
It's A Beautiful Day,
Siouxsie and the Banshees,
Swans,
Vaughan Mason & Crew,
Howard Jones,
World's Most,
John Holt,
Letta Mbulu,
Kool G Rap & DJ Polo,
Rotary Connection,
Model 500,
London Community Gospel Choir,
The Techniques,
Deakin, Deakin, Deakin, Deakin.
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.