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 Lesotho and from Manila.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Beijing and Paris.
I'm losing my edge to the art-school New York 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 Lou Reed & Metallica 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 Black Bananas. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every The Barracudas record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Ronan,
Funky Four + One,
Black Pus,
Fear,
In Retrospect,
Moby Grape,
Gregory Isaacs,
Quantec,
Roxette,
Godley & Creme,
Sight & Sound,
Sister Nancy,
the Slits,
Grandmaster Flash and the Furious Five,
The Black Dice,
Ultimate Spinach,
Gil Scott-Heron & Brian Jackson,
Los Fastidios,
Sad Lovers and Giants,
Scion,
Altered Images,
the Association,
Sällskapet,
Country Joe & The Fish,
Ultramagnetic MC's,
New York Dolls,
Accadde A,
Derrick May,
The Sisters of Mercy,
Mo-Dettes,
The Young Rascals,
Kool G Rap & DJ Polo,
Robert Wyatt,
Ronnie Foster,
The Moody Blues,
James Chance & The Contortions,
Lizzy Mercier Descloux,
Eric B and Rakim,
Josef K,
Cymande,
John Lydon,
Swans,
Peter Gordon & Love of Life Orchestra,
Thee Headcoats,
Public Image Ltd.,
Jacob Miller,
Public Enemy,
Art Ensemble Of Chicago,
Supertramp,
Duran Duran,
Wolf Eyes,
The Blues Magoos,
Richard Hell and the Voidoids,
Young Marble Giants,
Minutemen,
The Fire Engines,
Cal Tjader,
Theoretical Girls,
Bizarre Inc.,
Quadrant,
Second Layer, Second Layer, Second Layer, Second Layer.
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.