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 Vietnam and from Accra.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
I'm losing my edge to the art-school Houston 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 ABC to the disco kids.
I played it at the Spitz.
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 Bootsy Collins. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Liliput 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Ash Ra Tempel,
The Durutti Column,
The Misunderstood,
the Bar-Kays,
Larry & the Blue Notes,
Gil Scott Heron,
Angry Samoans,
Dead Boys,
Heaven 17,
The Count Five,
Sister Nancy,
Scott Walker + Sunn O))),
Underground Resistance,
Thinking Fellers Union Local 282,
Rakim,
Young Marble Giants,
Blake Baxter,
X-101,
Rhythm & Sound,
Chris Corsano,
Graham Central Station,
Jeff Mills,
Chrome,
Bill Wells,
Hot Snakes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Charles Mingus,
Rowland S Howard / Lydia Lunch,
Crispy Ambulance,
The United States of America,
Shuggie Otis,
Joensuu 1685,
The Blues Magoos,
Grey Daturas,
Pulsallama,
Crime,
Harpers Bizarre,
Kings Of Tomorrow,
Piero Umiliani,
Marc Almond,
Eve St. Jones,
The Doobie Brothers,
Marmalade,
Albert Ayler,
Pierre Henry,
The Slits,
Iggy Pop,
Sparks,
Electric Prunes,
The Selecter,
Yazoo,
Joyce Sims,
The Moody Blues,
Roxette,
Vaughan Mason & Crew,
Donny Hathaway,
The American Breed,
Be Bop Deluxe,
Magazine,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.