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 Serbia and from Lyon.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 U.S. Maple to the punk kids.
I played it at CBGB's.
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 Maurizio. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every In Retrospect 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 '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Reuben Wilson,
Barclay James Harvest,
Bush Tetras,
Notorious Big And Bone Thugs,
Nas,
Eurythmics,
kango's stein massive,
The Cure,
Red Lorry Yellow Lorry,
Hashim,
Slick Rick,
Avey Tare,
The Victims,
Model 500,
Jeff Mills,
Black Pus,
Lebanon Hanover,
The Searchers,
Masters at Work,
Whodini,
Kerrie Biddell,
Albert Ayler,
Robert Görl,
Sarah Menescal,
ABBA,
The Happenings,
Piero Umiliani,
Mark Hollis,
Tropical Tobacco,
The Kinks,
Zero Boys,
Althea and Donna,
Magma,
The Invisible,
Be Bop Deluxe,
Amazonics,
H. Thieme,
The Zeros,
Dave Gahan,
Bobby Hutcherson,
Michelle Simonal,
Rahsaan Roland Kirk,
Hardrive,
Heaven 17,
Lou Christie,
Marcia Griffiths,
Gil Scott Heron,
Rod Modell,
Gang of Four,
The Mojo Men,
Gian Franco Pienzio,
Eve St. Jones,
The Monks,
Crash Course in Science,
T. Rex,
Outsiders,
Zapp,
Glenn Branca,
Kaleidoscope,
Unrelated Segments,
Bluetip,
Hoover,
Von Mondo, Von Mondo, Von Mondo, Von Mondo.
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.