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 Taiwan and from Portland.
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 1979.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Mumbai 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Alice Coltrane to the rap kids.
I played it at the Troubador.
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 Neu!. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Young Rascals,
Beasts of Bourbon,
The Divine Comedy,
Andrew Hill,
Stiv Bators,
Fear,
Leonard Cohen,
Pulsallama,
Scion,
The Evens,
James Chance & The Contortions,
Sex Pistols,
Joey Negro,
Inner City,
Dual Sessions,
Erasure,
The Doors,
Massinfluence,
Underground Resistance,
Morten Harket,
Scott Walker + Sunn O))),
X-102,
Don Cherry,
Black Sheep,
The Durutti Column,
The Leaves,
Bronski Beat,
Model 500,
The Dead C,
A Flock of Seagulls,
Sight & Sound,
Dorothy Ashby,
Josef K,
Warren Ellis,
Slave,
Public Image Ltd.,
Franke,
Kerri Chandler,
The Fall,
Man Parrish,
John Cale,
Nick Fraelich,
Eden Ahbez,
Vainqueur,
Minor Threat,
Bootsy's Rubber Band,
Negative Approach,
Fort Wilson Riot,
Slick Rick,
The Zeros,
Lou Christie,
Accadde A,
Mr. Review,
Echo & the Bunnymen,
Avey Tare's Slasher Flicks,
E-Dancer,
Stereo Dub,
Kango’s Stein Massive,
Camberwell Now,
Mary Jane Girls,
Moebius,
John Lydon, John Lydon, John Lydon, John Lydon.
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.