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 Bologna.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Manchester and Delhi.
I'm losing my edge to the art-school Tehran 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 John Lydon to the rap kids.
I played it at CBGB's.
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 Soft Machine. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Raincoats record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Robert Hood,
R.M.O.,
Niagra,
Dual Sessions,
Rahsaan Roland Kirk,
Crash Course in Science,
Joey Negro,
Beasts of Bourbon,
H. Thieme,
Eyeless In Gaza,
Traffic Nightmare,
The Men They Couldn't Hang,
The Smiths,
OOIOO,
Pantytec,
Eden Ahbez,
Michelle Simonal,
Sixth Finger,
Gary Puckett & The Union Gap,
Ajijia Myrayebe,
Matthew Halsall,
Radiopuhelimet,
the Bar-Kays,
Don Cherry,
Skaos,
Ossler,
Josef K,
Masters at Work,
The Remains,
Lou Reed & John Cale,
Bobby Hutcherson,
Spandau Ballet,
The Moody Blues,
FM Einheit,
Franke,
Brothers Johnson,
Public Enemy,
New York Dolls,
Yazoo,
Lebanon Hanover,
The Pop Group,
Jacob Miller,
Saccharine Trust,
Bobby Sherman,
The Doors,
Pylon,
Guru Guru,
Half Japanese,
The Fall,
Goldenarms,
Motorama,
Black Pus,
Warsaw,
The Buckinghams,
Vladislav Delay,
Sound Behaviour,
The Star Department, The Star Department, The Star Department, The Star Department.
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.