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 Venezuela and from London.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Steve Hackett to the punk kids.
I played it at the Crocodile.
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 The Fortunes. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Alice Coltrane,
The American Breed,
Selector Dub Narcotic,
DeepChord presents Echospace,
The Victims,
Pere Ubu,
Arcadia,
Grandmaster Flash,
Eric Dolphy,
Sugar Minott,
Notorious Big And Bone Thugs,
In Retrospect,
Blancmange,
The Sonics,
Rotary Connection,
David Axelrod,
Los Fastidios,
Strawberry Alarm Clock,
Sound Behaviour,
Von Mondo,
Parry Music,
Lower 48,
The Fugs,
Rekid,
Gregory Isaacs,
Pete Rock & C.L. Smooth,
Gastr Del Sol,
Absolute Body Control,
Sarah Menescal,
Hasil Adkins,
Sunsets and Hearts,
Neil Young,
Brand Nubian,
Brass Construction,
U.S. Maple,
The Golliwogs,
Lizzy Mercier Descloux,
Rapeman,
Cybotron,
8 Eyed Spy,
Hardrive,
Adolescents,
Unwound,
Röyhkä ja Rättö ja Lehtisalo,
The Cure,
The Walker Brothers,
Metal Thangz,
Ten City,
Fat Boys,
Black Sheep,
Boogie Down Productions,
Lafayette Afro Rock Band,
Moby Grape,
Henry Cow,
Grandmaster Flash and the Furious Five,
Eric B and Rakim,
Steve Hackett,
Kool G Rap & DJ Polo,
Barclay James Harvest,
Laurel Aitken,
Bootsy's Rubber Band,
Ituana,
the Sonics, the Sonics, the Sonics, the Sonics.
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.