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 Algeria and from New York.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1974.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Cairo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Bobby Womack to the rap kids.
I played it at the Roxy.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Matthew Halsall 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 '80s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your snare and bought a guitar.
I hear that you and your band have sold your guitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Tropical Tobacco,
Yellowson,
Gil Scott Heron,
James Chance & The Contortions,
Lindisfarne,
Michelle Simonal,
Japan,
Sällskapet,
Stiv Bators,
Skriet,
Angels of Light & Akron/Family,
Erasure,
Gang Starr,
The Golliwogs,
Black Flag,
The Offenders,
Kool Moe Dee,
The Zeros,
Rhythm & Sound,
The Dirtbombs,
The Names,
The Wake,
The West Coast Pop Art Experimental Band,
Robert Wyatt,
Pole,
Big Daddy Kane,
Eric Copeland,
Moby Grape,
Aloha Tigers,
Flipper,
Rotary Connection,
Echospace,
Unrelated Segments,
Alphaville,
Negative Approach,
Barclay James Harvest,
Massinfluence,
Supertramp,
Quantec,
Bluetip,
Major Organ And The Adding Machine,
Magazine,
Mary Jane Girls,
Kerrie Biddell,
The Smoke,
Sonic Youth,
The Buckinghams,
Aswad,
Mission of Burma,
The Sound,
Sparks,
Little Man,
The Slits,
Slave,
The Gories,
Alison Limerick,
Gary Puckett & The Union Gap,
Black Pus,
Crime,
Eli Mardock,
Gerry Rafferty,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.