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 Liechtenstein and from Tehran.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Manchester 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Procol Harum to the grime kids.
I played it at the Astoria.
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 Smog. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Wighnomy Brothers & Robag Wruhme,
John Foxx,
Yazoo,
A Certain Ratio,
Reuben Wilson,
JFA,
Sight & Sound,
Kas Product,
Crispy Ambulance,
Gil Scott-Heron & Brian Jackson,
Tubeway Army,
Faraquet,
The Litter,
Kauko Röyhkä ja Narttu,
Sugar Minott,
The Walker Brothers,
Howard Jones,
Bill Near,
Dennis Brown,
Eric Copeland,
CMW,
Ultra Naté,
Excepter,
Oneida,
Big Daddy Kane,
Johnny Osbourne,
The Royal Family And The Poor,
Swans,
Altered Images,
Lindisfarne,
Jeff Mills,
Lee Hazlewood,
Gang of Four,
Nico,
Procol Harum,
Sam Rivers,
Funkadelic,
Harry Pussy,
Wire,
Radiohead,
Visage,
John Holt,
Deutsch Amerikanische Freundschaft,
Heavy D & The Boyz,
Cabaret Voltaire,
Reagan Youth,
The Fuzztones,
Porter Ricks,
Nirvana,
Althea and Donna,
Man Eating Sloth,
Circle Jerks,
Ituana,
Y Pants,
Marvin Gaye,
The Offenders,
The Red Krayola,
Camouflage,
Bang On A Can,
Marshall Jefferson,
Oppenheimer Analysis,
Al Stewart,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.