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 Colombia and from Spokane.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Taipei.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Invisible 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 Sandy B. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
Lee Hazlewood,
Goldenarms,
Pharaoh Sanders and the Fire Engines,
Harmonia,
ABC,
John Foxx,
Derrick May,
Heaven 17,
Johnny Osbourne,
Delta 5,
Yusef Lateef,
X-Ray Spex,
Jandek,
Dark Day,
The Victims,
Theoretical Girls,
Neu!,
Lindisfarne,
Siouxsie and the Banshees,
Aaron Thompson,
The Happenings,
The Angels of Light,
Gastr Del Sol,
Joe Smooth,
The Real Kids,
Slick Rick,
Yaz,
Urselle,
Mandrill,
Young Marble Giants,
The Golliwogs,
Kerrie Biddell,
New Order,
Vladislav Delay,
Girls At Our Best!,
Hot Snakes,
Deepchord,
Terrestrial Tones,
Reuben Wilson,
the Association,
Iggy Pop,
Malaria!,
Kenny Larkin,
Ludus,
Mr. Review,
The Litter,
Ponytail,
Deutsch Amerikanische Freundschaft,
Massinfluence,
Matthew Halsall,
Man Parrish,
Con Funk Shun,
Reagan Youth,
Index,
Bobby Byrd,
Dennis Brown,
Warsaw,
Big Daddy Kane,
Fela Kuti,
Little Man,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.