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 Nigeria and from Taipei.
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 1975.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
I'm losing my edge to the art-school Copenhagen 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Colin Newman to the grime 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 The Smiths. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dave Clark Five,
Hoover,
The New Christs,
Sexual Harrassment,
Marc Romboy vs. Booka Shade,
Sex Pistols,
Aaron Thompson,
Wire,
Lakeside,
Gastr Del Sol,
Outsiders,
ABBA,
Tim Buckley,
Glenn Branca,
Joensuu 1685,
Moby Grape,
Nirvana,
Roxy Music,
Black Pus,
One Last Wish,
Monolake,
The Fall,
Warsaw,
Arab on Radar,
Marine Girls,
Roy Ayers Ubiquity,
Sällskapet,
Crooked Eye,
John Cale,
Kevin Saunderson,
Colin Newman,
Talk Talk,
Trumans Water,
Oppenheimer Analysis,
X-Ray Spex,
Kaleidoscope,
Swans,
Index,
Yaz,
Monks,
Pantaleimon,
Jeff Mills,
Blossom Toes,
It's A Beautiful Day,
The Men They Couldn't Hang,
Lalann,
Lucky Dragons,
The Associates,
Andrew Ashong & Theo Parrish,
Jandek,
Bobby Womack,
Bad Manners,
Eden Ahbez,
Ronan,
Gang Green,
Michelle Simonal,
A Certain Ratio,
Franke,
Todd Rundgren,
Toni Rubio,
Cecil Taylor,
Drive Like Jehu,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.