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 Ethiopia and from Salvador.
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 1979.
I'm losing my edge.
To all the kids in Paris and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 Aaron Thompson to the grunge kids.
I played it at Cafe Wha.
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 Faraquet. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every In Retrospect 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Tom Boy,
Royal Trux,
Darondo,
Lizzy Mercier Descloux,
Sam Rivers,
The Dirtbombs,
Organ,
Rod Modell,
Soft Cell,
Avey Tare,
Magazine,
Flash Fearless,
The Mummies,
The Searchers,
Banda Bassotti,
Black Flag,
Donald Byrd,
Marshall Jefferson,
the Fania All-Stars,
Flipper,
Fad Gadget,
The Flesh Eaters,
Model 500,
10cc,
Camouflage,
Sarah Menescal,
Warren Ellis,
Notorious Big And Bone Thugs,
Man Eating Sloth,
Isaac Hayes,
London Community Gospel Choir,
Hashim,
Soft Machine,
Monks,
Neil Young & Crazy Horse,
Theoretical Girls,
Louis and Bebe Barron,
James Chance & The Contortions,
Pet Shop Boys,
Supertramp,
Cabaret Voltaire,
Kaleidoscope,
Blancmange,
Marmalade,
Art Ensemble Of Chicago,
Kool Moe Dee,
Suicide,
Skarface,
Boz Scaggs,
Yaz,
Mission of Burma,
Avey Tare's Slasher Flicks,
Joensuu 1685,
Masters at Work,
The Alarm Clocks,
B.T. Express,
Orchestral Manoeuvres in the Dark,
Angels of Light & Akron/Family,
Ohio Players,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.