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 Thailand and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1960 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Lagos 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Ronnie Foster to the dance 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 Al Stewart. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Ossler,
Byron Stingily,
Terrestrial Tones,
The Offenders,
Animal Collective,
Ten City,
John Lydon,
Gerry Rafferty,
R.M.O.,
Goldenarms,
Whodini,
The Motions,
The Pretty Things,
Glenn Branca,
Jeff Mills,
Wolf Eyes,
Nils Olav,
Roxy Music,
MC5,
Ultramagnetic MC's,
Marshall Jefferson,
Guru Guru,
Underground Resistance,
The Trojans,
Inner City,
Sonic Youth,
Schoolly D,
Unrelated Segments,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Birthday Party,
Alton Ellis,
Livin' Joy,
B.T. Express,
the Association,
Negative Approach,
Adolescents,
James White and The Blacks,
Patti Smith,
48th St. Collective,
Deutsch Amerikanische Freundschaft,
David Bowie,
Mad Mike,
Frankie Knuckles,
Loose Ends,
The Saints,
Groovy Waters,
Steve Hackett,
The Index,
Kango’s Stein Massive,
Lucky Dragons,
The Durutti Column,
Jimmy McGriff,
K-Klass,
Sly & The Family Stone,
the Slits,
Arcadia,
Arthur Verocai,
Red Lorry Yellow Lorry,
Albert Ayler,
Gang Starr,
Royal Trux,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.