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 Palau and from Seoul.
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 Copenhagen and Hong Kong.
I'm losing my edge to the art-school Seoul 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Victims to the dance kids.
I played it at Trash.
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 The Slits. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Cymande,
Basic Channel,
Stiv Bators,
The Victims,
Bang On A Can,
Avey Tare,
Gabor Szabo,
The Pretty Things,
Tomorrow,
Angry Samoans,
Scratch Acid,
Strawberry Alarm Clock,
JFA,
Groovy Waters,
Tom Boy,
Black Flag,
In Retrospect,
Bobbi Humphrey,
Mars,
Blossom Toes,
Rhythim Is Rhythim,
The Gladiators,
Von Mondo,
Black Sheep,
Rod Modell,
Bob Dylan,
The Jesus and Mary Chain,
The Sisters of Mercy,
Mr. Review,
The Neon Judgement,
Flash Fearless,
Sandy B,
B.T. Express,
Bill Wells,
Dr. Dre and Snoop Doggy Dog,
Faust,
Mary Jane Girls,
Andrew Hill,
Funkadelic,
Tubeway Army,
Roxy Music,
Oblivians,
Porter Ricks,
Joensuu 1685,
The Vogues,
T. Rex,
Roy Ayers Ubiquity,
The Durutti Column,
Michelle Simonal,
Mission of Burma,
Maleditus Sound,
Henry Cow,
H. Thieme,
Soul Sonic Force,
ABC,
The Cramps,
Deakin,
Ohio Players,
Eric Copeland,
Selector Dub Narcotic,
The Wake,
Average White Band, Average White Band, Average White Band, Average White Band.
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.