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 the UAE and from Manila.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and London.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Jerry Gold Smith to the electroclash kids.
I played it at CBGB's.
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 Jacob Miller. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Index,
Harry Pussy,
Lou Reed & John Cale,
Mary Jane Girls,
John Coltrane,
Rosa Yemen,
The Jesus and Mary Chain,
Agent Orange,
The Index,
The Monks,
Lafayette Afro Rock Band,
Banda Bassotti,
Barry Ungar,
Faust,
The Gap Band,
Brick,
Eric B and Rakim,
Cymande,
Kas Product,
Brothers Johnson,
Skarface,
Rhythim Is Rhythim,
Michelle Simonal,
The Fall,
Faraquet,
John Foxx,
the Association,
Visionaries,LMNO, T- Love & Iriscience,
Quantec,
Ossler,
Sandy B,
The Neon Judgement,
Khruangbin,
Graham Central Station,
The Sound,
The Skatalites,
Aloha Tigers,
Funkadelic,
Radio Birdman,
Tim Buckley,
Procol Harum,
Animal Collective,
Godley & Creme,
MDC,
Echo & the Bunnymen,
Unwound,
Goldenarms,
The Associates,
Warren Ellis,
The United States of America,
Nik Kershaw,
Subhumans,
The Martian,
Q and Not U,
cv313,
Scrapy,
Lalo Schifrin,
Toni Rubio,
Captain Beefheart & His Magic Band,
World's Most,
Yaz,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.