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 Vanuatu 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 1964 to 1977.
I'm losing my edge.
To all the kids in Madrid and Lille.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Michael McDonald 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 Maurizio to the electroclash 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 Laurel Aitken. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo 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?
Toni Rubio,
Oppenheimer Analysis,
La Düsseldorf,
The Victims,
Howard Jones,
10cc,
Cal Tjader,
Qualms,
Tubeway Army,
Pharoah Sanders,
Bob Dylan,
Patti Smith,
Banda Bassotti,
The Index,
June Days,
New Age Steppers,
Joyce Sims,
Mr. Review,
Radiohead,
Henry Cow,
Wings,
Tomorrow,
Massinfluence,
Los Fastidios,
Crooked Eye,
Joey Negro,
Kerrie Biddell,
Sun City Girls,
Anthony Braxton,
Tropical Tobacco,
Nils Olav,
Boogie Down Productions,
Black Sheep,
Simply Red,
Jerry's Kids,
Roy Ayers Ubiquity,
Idris Muhammad,
Deepchord,
Sonic Youth,
Boz Scaggs,
K-Klass,
Wasted Youth,
Underground Resistance,
Technova,
Lee Hazlewood,
Man Parrish,
Faust,
Ronnie Foster,
Neu!,
Crispian St. Peters,
Lungfish,
John Coltrane,
This Heat,
Animal Collective,
Alison Limerick,
The Velvet Underground,
Beasts of Bourbon,
The Flesh Eaters,
Marcia Griffiths,
Prince Buster,
Ten City,
Moebius, Moebius, Moebius, Moebius.
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.