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 Norway and from Seoul.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1971.
I'm losing my edge.
To all the kids in Delhi and Seoul.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 Lindisfarne to the electroclash 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 Fad Gadget. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Fluxion record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Normal 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?
Jerry Gold Smith,
Mo-Dettes,
Sun Ra Arkestra,
Bootsy Collins,
Scratch Acid,
Tropical Tobacco,
Lee Hazlewood,
The Knickerbockers,
Bang on a Can All-Stars,
Brothers Johnson,
Howard Jones,
Matthew Bourne,
Black Flag,
The Litter,
Art Ensemble Of Chicago,
Colin Newman,
Man Eating Sloth,
Moss Icon,
Roy Ayers,
Patti Smith,
Sister Nancy,
Joe Smooth,
Motorama,
Red Lorry Yellow Lorry,
Marine Girls,
Fear,
Youth Brigade,
Infiniti,
Absolute Body Control,
Visionaries,LMNO, T- Love & Iriscience,
The Blues Magoos,
Gabor Szabo,
Todd Rundgren,
Bizarre Inc.,
New York Dolls,
Joey Negro,
Oneida,
Jimmy McGriff,
A Flock of Seagulls,
Lower 48,
Q65,
Agent Orange,
Oppenheimer Analysis,
Blossom Toes,
The Durutti Column,
Swell Maps,
The Index,
Chris & Cosey,
Symarip,
The Offenders,
The New Christs,
The Grass Roots,
Angry Samoans,
X-Ray Spex,
Main Source,
The Walker Brothers,
The Sound,
Curtis Mayfield,
Malaria!,
The Count Five,
Notorious Big And Bone Thugs,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.