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 Finland and from Lagos.
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 1976.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Salvador 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the chamberlin 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 Dual Sessions 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 Monks. All the underground hits.
All Sixth Finger tracks. I heard you have a vinyl of every Cluster 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Bang on a Can All-Stars,
Scientists,
Scratch Acid,
Barrington Levy,
Orchestral Manoeuvres in the Dark,
The Selecter,
Lyres,
X-102,
Lalo Schifrin,
DeepChord presents Echospace,
Lower 48,
Drive Like Jehu,
Babytalk,
Slick Rick,
The Mojo Men,
The Moody Blues,
Lou Reed & Metallica,
Agent Orange,
Richard Hell and the Voidoids,
Lakeside,
The Pretty Things,
Livin' Joy,
Ronan,
Alphaville,
Chris Corsano,
Neu!,
World's Most,
Das Ding,
Mary Jane Girls,
Desert Stars,
Jeff Mills,
The American Breed,
Andrew Ashong & Theo Parrish,
Jawbox,
Fluxion,
Al Stewart,
Alice Coltrane,
Pet Shop Boys,
Jeru the Damaja,
The New Christs,
Joy Division,
The Mummies,
The Monks,
UT,
Stiv Bators,
Newcleus,
Deakin,
Gong,
The Young Rascals,
Amon Düül,
The Vogues,
Porter Ricks,
Grauzone,
Barry Ungar,
E-Dancer,
Juan Atkins,
The Real Kids,
the Normal,
Chrome,
Gang of Four,
Stereo Dub,
Nico,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.