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 Malaysia 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 1963 to 1971.
I'm losing my edge.
To all the kids in Toronto and Taipei.
I'm losing my edge to the art-school Manchester 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Arthur Verocai to the electroclash 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 Eric Dolphy. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Scott Walker + Sunn O))) 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Magazine,
Soft Machine,
The United States of America,
Pulsallama,
Rahsaan Roland Kirk,
Marvin Gaye,
June Days,
DJ Style,
Grandmaster Flash,
Guru Guru,
48th St. Collective,
Boogie Down Productions,
Matthew Halsall,
Gian Franco Pienzio,
Major Organ And The Adding Machine,
Pole,
Heavy D & The Boyz,
Röyhkä ja Rättö ja Lehtisalo,
Yazoo,
Siouxsie and the Banshees,
Alice Coltrane,
Matthew Bourne,
Magma,
Mad Mike,
Judy Mowatt,
Public Enemy,
Bootsy Collins,
Bill Near,
The Grass Roots,
Lou Reed,
Deakin,
Crispy Ambulance,
Notorious Big And Bone Thugs,
Bad Manners,
Roy Ayers,
PIL,
Art Ensemble Of Chicago,
The Misunderstood,
Marcia Griffiths,
F. McDonald,
Delon & Dalcan,
CMW,
The Gories,
The Names,
Theoretical Girls,
Man Parrish,
Blossom Toes,
Beasts of Bourbon,
Pagans,
Scientists,
The Standells,
The Pop Group,
Skaos,
Unwound,
Young Marble Giants,
The Skatalites,
Saccharine Trust,
David Bowie,
Desert Stars,
Sun Ra,
Scott Walker,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.