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 Solomon Islands and from Accra.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school London 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 linndrum 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 The Kinks to the rap kids.
I played it at the Hacienda.
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 Avey Tare. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every It's A Beautiful Day record on German import.
I heard that you have a white label of every seminal rock 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 a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Clear Light,
Susan Cadogan,
Organ,
Moby Grape,
Piero Umiliani,
Sun City Girls,
Wings,
Oppenheimer Analysis,
Kaleidoscope,
Mo-Dettes,
K-Klass,
Cluster,
Sandy B,
James Chance & The Contortions,
Freddie Wadling,
The Tremeloes,
Shuggie Otis,
ABC,
Circle Jerks,
the Association,
Eric Copeland,
Surgeon,
Stereo Dub,
The Trojans,
Chrome,
Quadrant,
Con Funk Shun,
The Techniques,
Matthew Bourne,
Rakim,
Neil Young & Crazy Horse,
Jeff Lynne,
Jeff Mills,
Art Ensemble Of Chicago,
Hot Snakes,
Fear,
Basic Channel,
Alice Coltrane,
Graham Central Station,
Bad Manners,
Rowland S Howard / Lydia Lunch,
Rekid,
Index,
Faraquet,
Sound Behaviour,
Yusef Lateef,
Bobby Byrd,
Moss Icon,
X-101,
Jawbox,
UT,
the Human League,
Make Up,
Swans,
Dave Gahan,
Au Pairs,
Scratch Acid,
Banda Bassotti,
Ornette Coleman,
Albert Ayler,
Barry Ungar,
Nirvana,
Mr. Review,
The Searchers, The Searchers, The Searchers, The Searchers.
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.