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 Ivory Coast and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school London 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Barracudas to the rock 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 Yusef Lateef. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Guru Guru 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 '50s cut and another box set from the '80s.
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 Sonny Sharrock record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Television Personalities,
The Offenders,
Don Cherry,
Wighnomy Brothers & Robag Wruhme,
Fatback Band,
Vainqueur,
Donny Hathaway,
Lindisfarne,
Drive Like Jehu,
Eurythmics,
Loose Ends,
Warren Ellis,
June of 44,
the Bar-Kays,
Jeru the Damaja,
A Certain Ratio,
Silicon Teens,
Suicide,
Harpers Bizarre,
The Blackbyrds,
Jesper Dahlbäck,
The Monks,
Flamin' Groovies,
Severed Heads,
Deutsch Amerikanische Freundschaft,
The Happenings,
Von Mondo,
Hoover,
Lou Reed,
Electric Prunes,
Todd Rundgren,
Byron Stingily,
Maurizio,
The Sonics,
The Zeros,
Soft Cell,
Chris & Cosey,
David Axelrod,
Ajijia Myrayebe,
The Moleskins,
The Five Americans,
The Angels of Light,
The Mojo Men,
Terror Squad Feat. Camron,
John Foxx,
The Shadows of Knight,
Organ,
Tim Buckley,
The Skatalites,
Slave,
Jeff Lynne,
Wire,
Johnny Osbourne,
Carl Craig,
Hasil Adkins,
Erykah Badu,
Lafayette Afro Rock Band,
Sarah Menescal,
Amazonics,
Wings,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.