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 Netherlands and from New York.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Lille.
I'm losing my edge to the art-school Mumbai 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 the Association to the jazz kids.
I played it at the Roxy.
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 Aaron Thompson. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Swell Maps,
Echospace,
Franke,
CMW,
Pere Ubu,
Masters at Work,
Sly & The Family Stone,
David Axelrod,
Ludus,
Toni Rubio,
Maleditus Sound,
James Chance & The Contortions,
Ornette Coleman,
The Beau Brummels,
Blake Baxter,
Spandau Ballet,
Ossler,
Country Teasers,
Sexual Harrassment,
Cal Tjader,
The Red Krayola,
Ten City,
Drexciya,
Unrelated Segments,
Television Personalities,
Livin' Joy,
Delon & Dalcan,
Eric Dolphy,
Richard Hell and the Voidoids,
Sixth Finger,
Scrapy,
Radiopuhelimet,
Parry Music,
Loose Ends,
cv313,
The Gladiators,
Lou Reed,
Agent Orange,
Frankie Knuckles,
The Walker Brothers,
Scratch Acid,
Amon Düül,
The Flesh Eaters,
Ronan,
Kaleidoscope,
Main Source,
Buzzcocks,
Steve Hackett,
Liliput,
Johnny Clarke,
Aural Exciters,
Intrusion,
Roxy Music,
Au Pairs,
The Mighty Diamonds,
Schoolly D,
Sad Lovers and Giants,
Marmalade,
The Move,
Aaron Thompson,
Alphaville,
Pagans, Pagans, Pagans, Pagans.
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.