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 Kosovo and from Stockholm.
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 1977.
I'm losing my edge.
To all the kids in Winnipeg and Lyon.
I'm losing my edge to the art-school Delhi 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 David Bowie 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 Crime to the funk 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 Suburban Knight. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Echo & the Bunnymen,
Eric B and Rakim,
The Remains,
Bobby Womack,
Bill Near,
Avey Tare & Kría Brekkan,
Franke,
Heaven 17,
Radiopuhelimet,
Cecil Taylor,
Bob Dylan,
The Cure,
The J.B.'s,
Interpol,
The Happenings,
The Slits,
Oppenheimer Analysis,
Gong,
The Stooges,
Frankie Knuckles,
Strawberry Alarm Clock,
PIL,
Grandmaster Flash and the Furious Five,
The Neon Judgement,
Brand Nubian,
Rhythm & Sound,
Roger Hodgson,
Ludus,
Ultramagnetic MC's,
The Residents,
Ohio Players,
Bobby Byrd,
Eve St. Jones,
Scratch Acid,
The Angels of Light,
Camron Feat. Memphis Bleek And Beenie Seigel,
Blancmange,
Crime,
Jandek,
Sällskapet,
Grey Daturas,
Livin' Joy,
The Offenders,
Rahsaan Roland Kirk,
Minnie Riperton,
The Grass Roots,
Vladislav Delay,
Negative Approach,
Eli Mardock,
Jeff Mills,
The Mighty Diamonds,
Black Pus,
Visionaries,LMNO, T- Love & Iriscience,
Swans,
Soft Machine,
Mantronix,
Bobby Hutcherson,
Drive Like Jehu,
Swell Maps,
The American Breed,
Jerry's Kids,
Byron Stingily,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.