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 Germany and from Taipei.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Manila.
I'm losing my edge to the art-school Seoul 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the spring reverb 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 The Monks to the electroclash 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 Cecil Taylor. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Bang On A Can,
Camron Feat. Memphis Bleek And Beenie Seigel,
EPMD,
Liliput,
Das Ding,
Severed Heads,
Derrick Morgan,
James Chance & The Contortions,
Moss Icon,
Lebanon Hanover,
Sparks,
Inner City,
The Music Machine,
JFA,
ABC,
The Pretty Things,
Pylon,
Davy DMX,
Desert Stars,
Youth Brigade,
Isaac Hayes,
Spandau Ballet,
Ituana,
Howard Jones,
Metal Thangz,
Rahsaan Roland Kirk,
Second Layer,
the Fania All-Stars,
Qualms,
Absolute Body Control,
The Divine Comedy,
Intrusion,
Jeru the Damaja,
Scrapy,
Chris & Cosey,
Eve St. Jones,
Super Lover Cee & Casanova Rud,
Tres Demented,
The Fortunes,
Mr. Review,
Dorothy Ashby,
Index,
De La Soul & Jungle Brothers,
Ultravox,
Dennis Brown,
Hasil Adkins,
Erykah Badu,
the Bar-Kays,
Jimmy McGriff,
Dawn Penn,
Todd Terry,
Man Parrish,
Country Teasers,
Oppenheimer Analysis,
The Selecter,
Shoche,
Average White Band,
Nico,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.