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 Afghanistan and from Mexico City.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Woodstock.
I'm losing my edge to the art-school Seoul 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 Josef K practice in a loft in Edinburgh.
I was working on the güiro 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 The Music Machine to the disco 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 Arab on Radar. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Country Joe & The Fish,
Kool Moe Dee,
Amon Düül,
Archie Shepp,
The Blues Magoos,
Cymande,
Groovy Waters,
Matthew Halsall,
Ultra Naté,
Ultramagnetic MC's,
Accadde A,
The Index,
The Techniques,
The Red Krayola,
The Peanut Butter Conspiracy,
Althea and Donna,
Black Moon,
Kaleidoscope,
the Association,
The Smoke,
Terrestrial Tones,
Zapp,
Mo-Dettes,
The Martian,
Major Organ And The Adding Machine,
Kings Of Tomorrow,
Sad Lovers and Giants,
June of 44,
Tears for Fears,
Newcleus,
The Offenders,
The Slits,
Boogie Down Productions,
Avey Tare,
Fluxion,
Vladislav Delay,
Main Source,
Warren Ellis,
Unrelated Segments,
Buzzcocks,
Rahsaan Roland Kirk,
Trumans Water,
Ajijia Myrayebe,
Index,
Alton Ellis,
The Mighty Diamonds,
La Düsseldorf,
Audionom,
The United States of America,
The Divine Comedy,
Freddie Wadling,
Interpol,
Goldenarms,
Slick Rick,
The Associates,
The Slackers,
Pulsallama,
Sun Ra Arkestra,
Massinfluence,
The Neon Judgement,
MC5, MC5, MC5, MC5.
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.