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 Spain and from Cairo.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Soft Machine to the techno 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 Man Parrish. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Desert Stars 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Peter Gordon & Love of Life Orchestra,
The Gories,
The Tremeloes,
Danielle Patucci,
The Pretty Things,
The Mighty Diamonds,
Eddi Front,
Chrome,
The Vogues,
Tubeway Army,
Lizzy Mercier Descloux,
Pole,
Schoolly D,
Gong,
Black Flag,
David McCallum,
kango's stein massive,
The Fall,
The Names,
Tropical Tobacco,
Depeche Mode,
The Cosmic Jokers,
Hoover,
The Electric Prunes,
Pharaoh Sanders and the Fire Engines,
Man Parrish,
The Sisters of Mercy,
Bobby Hutcherson,
Traffic Nightmare,
X-101,
Infiniti,
Radio Birdman,
Parry Music,
Isaac Hayes,
Babytalk,
Wire,
Blake Baxter,
Severed Heads,
Echo & the Bunnymen,
James White and The Blacks,
Jawbox,
Spoonie Gee,
Steve Hackett,
Lou Reed & John Cale,
the Slits,
Camouflage,
Skriet,
Khruangbin,
Desert Stars,
New Order,
Duran Duran,
Colin Newman,
Godley & Creme,
Harry Pussy,
Minnie Riperton,
Gerry Rafferty,
Icehouse,
Sun City Girls,
Delta 5,
Nirvana,
Bauhaus,
Strawberry Alarm Clock,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.