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 Bosnia Herzegovina and from Edmonton.
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 1970.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Portland 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 snare sounds with much patience.
I was there when Michael McDonald 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 DJ Sneak to the disco kids.
I played it at the Roxy.
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 Moon. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls 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?
Porter Ricks,
Jacques Brel,
Derrick Morgan,
Jesper Dahlback,
The Techniques,
Lou Reed & John Cale,
Harmonia,
Vainqueur,
Kauko Röyhkä ja Narttu,
OOIOO,
The Kinks,
Zapp,
Television,
The Grass Roots,
Crash Course in Science,
Dawn Penn,
Vladislav Delay,
MC5,
Silicon Teens,
Radio Birdman,
The Barracudas,
Buzzcocks,
Cal Tjader,
The Blackbyrds,
The Sisters of Mercy,
New York Dolls,
The Young Rascals,
A Flock of Seagulls,
Gil Scott Heron,
Andrew Ashong & Theo Parrish,
The Smiths,
Sticky Fingaz feat. Raekwon,
Donald Byrd,
DNA,
Sandy B,
Gabor Szabo,
The Standells,
Rhythm & Sound,
Interpol,
The Gories,
Maurizio,
Mantronix,
The Dave Clark Five,
Jerry Gold Smith,
Arthur Verocai,
Bang on a Can All-Stars,
Camberwell Now,
Moby Grape,
Nation of Ulysses,
Crispian St. Peters,
Theoretical Girls,
Warren Ellis,
Visage,
Laurel Aitken,
Electric Prunes,
Bauhaus,
Letta Mbulu,
Terry Callier,
Orchestral Manoeuvres in the Dark,
Faust,
Gian Franco Pienzio,
Bill Near, Bill Near, Bill Near, Bill Near.
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.