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 Slovakia and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Accra and New York.
I'm losing my edge to the art-school Johannesburg 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 Nile Rodgers 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 Amon Düül to the electroclash kids.
I played it at the Crocodile.
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 Curtis Mayfield. All the underground hits.
All June Days tracks. I heard you have a vinyl of every Dark Day 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Siouxsie and the Banshees,
John Coltrane,
Pulsallama,
The Busters,
Mo-Dettes,
the Human League,
Rowland S Howard / Lydia Lunch,
The Invisible,
Ultra Naté,
Second Layer,
K-Klass,
Fluxion,
Siglo XX,
Bauhaus,
China Crisis,
X-Ray Spex,
Skaos,
Amazonics,
Tears for Fears,
Kenny Larkin,
Rod Modell,
Iggy Pop,
F. McDonald,
Röyhkä ja Rättö ja Lehtisalo,
Super Lover Cee & Casanova Rud,
John Holt,
Fugazi,
Masters at Work,
The Mighty Diamonds,
Donald Byrd,
Godley & Creme,
Orchestral Manoeuvres in the Dark,
Desert Stars,
The Tremeloes,
Minutemen,
The Wake,
Roxy Music,
B.T. Express,
Lalo Schifrin,
Pagans,
Swans,
The Fortunes,
Strawberry Alarm Clock,
Bronski Beat,
Mr. Review,
Mission of Burma,
Visionaries,LMNO, T- Love & Iriscience,
Flipper,
Maurizio,
Josef K,
Audionom,
The Selecter,
Lonnie Liston Smith,
Minny Pops,
The Evens,
Carl Craig,
Sun Ra,
The Fugs,
Make Up,
Laurel Aitken,
The Misunderstood,
The Cramps,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.