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 Norway and from Beijing.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Cairo and Shanghai.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Sarah Menescal to the electroclash kids.
I played it at Cafe Wha.
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 Oneida. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Warren Ellis record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
cv313,
Agent Orange,
Pere Ubu,
James White and The Blacks,
X-Ray Spex,
Jandek,
Con Funk Shun,
Althea and Donna,
Parry Music,
The West Coast Pop Art Experimental Band,
Howard Jones,
Rotary Connection,
Quando Quango,
Rod Modell,
L. Decosne,
Vaughan Mason & Crew,
The Remains,
Television Personalities,
X-101,
Grandmaster Flash,
The Velvet Underground,
The Victims,
The Busters,
the Sonics,
Aswad,
Bang On A Can,
The Moleskins,
Mark Hollis,
The Index,
Radiohead,
Surgeon,
Flash Fearless,
Warsaw,
Hashim,
The Knickerbockers,
Matthew Bourne,
Heaven 17,
Amon Düül,
Stereo Dub,
R.M.O.,
Sällskapet,
Delon & Dalcan,
Cluster,
Harpers Bizarre,
Joe Finger,
Gil Scott-Heron and Jamie xx,
Scott Walker + Sunn O))),
Avey Tare & Kría Brekkan,
Half Japanese,
The Martian,
Mr. Review,
Deepchord,
Joy Division,
Black Bananas,
Japan,
Sunsets and Hearts,
A Flock of Seagulls,
John Foxx,
Blancmange,
Barry Ungar,
Lindisfarne,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.