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 Nicaragua and from Lille.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Beijing.
I'm losing my edge to the art-school Lille 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Henry Cow to the funk kids.
I played it at the Spitz.
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 Japan. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Crispy Ambulance 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Marine Girls,
London Community Gospel Choir,
Country Joe & The Fish,
Marshall Jefferson,
Bobby Hutcherson,
Carl Craig,
Sight & Sound,
Crash Course in Science,
Letta Mbulu,
Kurtis Blow,
Audionom,
The Fortunes,
Nik Kershaw,
Dawn Penn,
Scrapy,
AZ,
Motorama,
Freddie Wadling,
Bill Near,
Robert Wyatt,
Magazine,
In Retrospect,
Visionaries,LMNO, T- Love & Iriscience,
Blancmange,
E-Dancer,
Stereo Dub,
Talk Talk,
The Pretty Things,
Deakin,
The Trojans,
Deutsch Amerikanische Freundschaft,
Amazonics,
Joe Smooth,
Boogie Down Productions,
John Cale,
Prince Buster,
Amon Düül II,
Thompson Twins,
The Music Machine,
Soft Cell,
New York Dolls,
Cybotron,
The Fugs,
Barry Ungar,
Rod Modell,
Sixth Finger,
Agent Orange,
Niagra,
the Germs,
Rowland S Howard / Lydia Lunch,
Kango’s Stein Massive,
Derrick May,
Gerry Rafferty,
Alison Limerick,
Malaria!,
Camouflage,
Erasure,
Grauzone,
Bootsy Collins,
Excepter, Excepter, Excepter, Excepter.
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.