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 South Sudan and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1978.
I'm losing my edge.
To all the kids in Salvador and Toronto.
I'm losing my edge to the art-school Manchester 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Magazine 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 Country Joe & The Fish. All the underground hits.
All Glambeats Corp. 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 crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Marine Girls,
Marmalade,
Harmonia,
B.T. Express,
The Moleskins,
John Lydon,
Nation of Ulysses,
The Peanut Butter Conspiracy,
Section 25,
Clear Light,
the Soft Cell,
La Düsseldorf,
Television Personalities,
Echo & the Bunnymen,
Royal Trux,
The West Coast Pop Art Experimental Band,
The Doors,
Eve St. Jones,
Pharoah Sanders,
Drexciya,
Depeche Mode,
Half Japanese,
The Cowsills,
Roy Ayers,
Sight & Sound,
Hot Snakes,
Robert Hood,
The Toasters,
The Misunderstood,
H. Thieme,
Black Flag,
Kerri Chandler,
Magazine,
The Pop Group,
Avey Tare & Kría Brekkan,
Be Bop Deluxe,
Unrelated Segments,
Lucky Dragons,
Barclay James Harvest,
the Human League,
Ultra Naté,
The Dead C,
Flash Fearless,
Curtis Mayfield,
Lou Reed & John Cale,
Rod Modell,
Dr. Dre and Snoop Doggy Dog,
The Move,
Stiv Bators,
Derrick May,
Nirvana,
AZ,
The Sound,
Babytalk,
Country Teasers,
Bobby Byrd,
The Count Five,
The Zeros,
Aaron Thompson,
Jacob Miller,
Lalann, Lalann, Lalann, Lalann.
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.