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 Argentina and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Beijing 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 synthesizer 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 Talk Talk to the rap kids.
I played it at the Roxy.
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 Minny Pops. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Public Enemy 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 '80s.
I hear you're buying a 808 and an arpeggiator 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 theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
The Toasters,
Selector Dub Narcotic,
Red Lorry Yellow Lorry,
The Fire Engines,
Cymande,
Eric B and Rakim,
the Bar-Kays,
The Modern Lovers,
Dawn Penn,
Major Organ And The Adding Machine,
Pulsallama,
The Star Department,
Quadrant,
John Lydon,
The Knickerbockers,
Underground Resistance,
Banda Bassotti,
Barrington Levy,
the Slits,
Johnny Osbourne,
Lee Hazlewood,
The Tremeloes,
Bob Dylan,
Rowland S Howard / Lydia Lunch,
Lyres,
These Immortal Souls,
Echospace,
Average White Band,
Peter & Gordon,
a-ha,
Freddie Wadling,
Cecil Taylor,
Country Joe & The Fish,
Erasure,
Bill Wells,
Blancmange,
Nico,
Cameo,
Eden Ahbez,
The Five Americans,
Donald Byrd,
Radio Birdman,
Essential Logic,
Drexciya,
Laurel Aitken,
Derrick May,
Joensuu 1685,
B.T. Express,
Ohio Players,
Hoover,
Vladislav Delay,
Kenny Larkin,
Infiniti,
the Normal,
Deadbeat,
Ponytail,
Be Bop Deluxe,
Alison Limerick,
Minutemen,
Pylon,
Sällskapet,
Parry Music, Parry Music, Parry Music, Parry Music.
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.