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 Argentina and from Edmonton.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Tehran.
I'm losing my edge to the art-school Portland 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 Second Layer practice in a loft in South London.
I was working on the theremin 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 Hoover to the punk kids.
I played it at the Crocodile.
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 Alison Limerick. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every UT 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Johnny Clarke,
Urselle,
Mark Hollis,
The Trojans,
John Coltrane,
L. Decosne,
The Doobie Brothers,
Morten Harket,
Marcia Griffiths,
Jesper Dahlbäck,
Aswad,
Fifty Foot Hose,
R.M.O.,
The Black Dice,
Derrick Morgan,
Camouflage,
Lower 48,
Jeff Lynne,
Rhythm & Sound,
Flash Fearless,
Arab on Radar,
Peter Gordon & Love of Life Orchestra,
Schoolly D,
David McCallum,
Warren Ellis,
Joy Division,
The Motions,
Nation of Ulysses,
Be Bop Deluxe,
Cluster,
Maurizio,
Sexual Harrassment,
Sugar Minott,
Talk Talk,
Gary Puckett & The Union Gap,
Rosa Yemen,
Pete Rock & C.L. Smooth,
Main Source,
The Alarm Clocks,
Joey Negro,
Crooked Eye,
DJ Style,
Chris Corsano,
Marc Almond,
Dawn Penn,
Boz Scaggs,
Reuben Wilson,
Trumans Water,
the Fania All-Stars,
Visionaries,LMNO, T- Love & Iriscience,
Jeru the Damaja,
The Monks,
Deutsch Amerikanische Freundschaft,
Basic Channel,
Faraquet,
Sarah Menescal,
Television Personalities,
Oneida,
Qualms,
Funky Four + One,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.