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 Honduras and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Lagos and New York.
I'm losing my edge to the art-school Stockholm 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 snare 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 Lungfish to the rock kids.
I played it at the Astoria.
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 Qualms. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Roy Ayers Ubiquity,
The Leaves,
Young Marble Giants,
Faraquet,
Dawn Penn,
Gong,
Quando Quango,
Sällskapet,
Marcia Griffiths,
It's A Beautiful Day,
Grandmaster Flash and the Furious Five,
Larry & the Blue Notes,
Bizarre Inc.,
Zero Boys,
Au Pairs,
Can,
Tom Boy,
Connie Case,
Andrew Ashong & Theo Parrish,
Nik Kershaw,
Pylon,
Monks,
Camberwell Now,
Ossler,
Colin Newman,
Howard Jones,
Echospace,
Nick Fraelich,
CMW,
The Techniques,
Arab on Radar,
Scrapy,
Ponytail,
Japan,
Grey Daturas,
Gang of Four,
Mary Jane Girls,
Moss Icon,
Peter & Gordon,
Scratch Acid,
Swans,
Kevin Saunderson,
The Pop Group,
Sex Pistols,
Talk Talk,
Cybotron,
Scott Walker + Sunn O))),
Selector Dub Narcotic,
The Sonics,
Tim Buckley,
R.M.O.,
Theoretical Girls,
Gian Franco Pienzio,
Gang Starr,
U.S. Maple,
Josef K,
Half Japanese,
Bobby Womack,
Duran Duran,
Negative Approach,
The Wake,
Popol Vuh,
June of 44,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.