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 Comoros and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Sao Paulo.
I'm losing my edge to the art-school Jakarta 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Ultimate Spinach to the jazz 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 Second Layer. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every Flamin' Groovies record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Girls At Our Best!,
The Human League,
Angry Samoans,
The Shadows of Knight,
Robert Görl,
Bill Near,
Silicon Teens,
Altered Images,
Mr. Review,
Barbara Tucker,
Icehouse,
Sex Pistols,
Easy Going,
Major Organ And The Adding Machine,
Grey Daturas,
Crooked Eye,
Kings Of Tomorrow,
Beasts of Bourbon,
Chrome,
Eden Ahbez,
Ludus,
Laurel Aitken,
The Victims,
Arab on Radar,
Nirvana,
Swans,
The Offenders,
Red Lorry Yellow Lorry,
F. McDonald,
Judy Mowatt,
Slave,
Kenny Larkin,
Albert Ayler,
Ultra Naté,
Roy Ayers Ubiquity,
Tomorrow,
The Neon Judgement,
The Slits,
The Men They Couldn't Hang,
Archie Shepp,
Sun Ra,
Bluetip,
EPMD,
Slick Rick,
Television Personalities,
Wings,
T. Rex,
K-Klass,
Boogie Down Productions,
Royal Trux,
Camberwell Now,
World's Most,
Young Marble Giants,
Pole,
The Jesus and Mary Chain,
Lightning Bolt,
Section 25,
Boredoms,
Maurizio,
Bang on a Can All-Stars,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.