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 Lithuania and from London.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Columbus and Lyon.
I'm losing my edge to the art-school Madrid 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Blackbyrds to the techno 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 Urselle. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal rap 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Television Personalities,
Nation of Ulysses,
Mad Mike,
Siglo XX,
Fatback Band,
The West Coast Pop Art Experimental Band,
Janne Schatter,
the Association,
The Slackers,
The Velvet Underground,
Maleditus Sound,
Todd Rundgren,
Lyres,
Lou Christie,
Q and Not U,
Sandy B,
Steve Hackett,
Derrick May,
Ash Ra Tempel,
Bobby Womack,
Barclay James Harvest,
Alison Limerick,
Thee Headcoats,
The Fire Engines,
Pylon,
Tears for Fears,
Loose Ends,
The Motions,
FM Einheit,
Spandau Ballet,
Cluster,
48th St. Collective,
Simply Red,
E-Dancer,
Icehouse,
Sun City Girls,
Patti Smith,
Dead Boys,
Grey Daturas,
The Misunderstood,
Yaz,
AZ,
The Real Kids,
Glambeats Corp.,
Con Funk Shun,
The Angels of Light,
Ituana,
Infiniti,
The Doors,
Charles Mingus,
Funky Four + One,
David McCallum,
Main Source,
Grauzone,
Lizzy Mercier Descloux,
Neil Young & Crazy Horse,
Red Lorry Yellow Lorry,
Suicide,
Amon Düül,
Deutsch Amerikanische Freundschaft,
Lalann,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.