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 Korea South 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 1969 to 1970.
I'm losing my edge.
To all the kids in Beijing and Manchester.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 David Axelrod to the funk 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 Hasil Adkins. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Nick Cave & The Bad Seeds,
The Smiths,
Drexciya,
U.S. Maple,
Eli Mardock,
Metal Thangz,
X-102,
Dorothy Ashby,
Scan 7,
Moebius,
Circle Jerks,
Marmalade,
Jesper Dahlbäck,
London Community Gospel Choir,
Livin' Joy,
Red Lorry Yellow Lorry,
The American Breed,
Jandek,
Morten Harket,
Neu!,
Mandrill,
Section 25,
These Immortal Souls,
Nik Kershaw,
This Heat,
Pierre Henry,
Accadde A,
Bootsy's Rubber Band,
The Divine Comedy,
Quadrant,
Alton Ellis,
Liliput,
Roy Ayers Ubiquity,
Funkadelic,
Fatback Band,
Lebanon Hanover,
James White and The Blacks,
Infiniti,
Bill Wells,
The Mighty Diamonds,
Bob Dylan,
X-101,
the Germs,
Juan Atkins,
Larry & the Blue Notes,
Peter & Gordon,
Stockholm Monsters,
K-Klass,
Siouxsie and the Banshees,
Amon Düül,
The Last Poets,
Arab on Radar,
Eddi Front,
Avey Tare & Kría Brekkan,
Yellowson,
Magazine,
Kayak,
Aural Exciters,
Gian Franco Pienzio,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.