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 Iceland and from Hong Kong.
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 1978.
I'm losing my edge.
To all the kids in Houston and Tehran.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Roy Ayers 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 June Days. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
Blossom Toes,
Grauzone,
Popol Vuh,
Ossler,
The Selecter,
Grandmaster Flash and the Furious Five,
The Mummies,
Electric Prunes,
The Stooges,
Suicide,
Red Lorry Yellow Lorry,
48th St. Collective,
the Sonics,
Aloha Tigers,
Johnny Clarke,
The Associates,
R.M.O.,
Manfred Mann's Earth Band,
Alice Coltrane,
The Divine Comedy,
Marmalade,
The Angels of Light,
Bobby Byrd,
Andrew Hill,
JFA,
John Cale,
Malaria!,
Brand Nubian,
Freddie Wadling,
Steve Hackett,
Soft Machine,
Public Image Ltd.,
Fatback Band,
Cabaret Voltaire,
Pantytec,
the Fania All-Stars,
Byron Stingily,
Eric B and Rakim,
Inner City,
Moss Icon,
Drive Like Jehu,
Mary Jane Girls,
Morten Harket,
Black Pus,
8 Eyed Spy,
Sparks,
Desert Stars,
Vladislav Delay,
Röyhkä ja Rättö ja Lehtisalo,
David McCallum,
Rhythim Is Rhythim,
Anakelly,
Sound Behaviour,
Quantec,
Fear,
Clear Light,
Moby Grape,
AZ,
Jacques Brel,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.