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 Ethiopia 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 1962 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
I'm losing my edge to the art-school Jakarta 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Porter Ricks to the dance kids.
I played it at the Crocodile.
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 The Dead C. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Art Ensemble Of Chicago 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Dave Clark Five record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
E-Dancer,
Connie Case,
The West Coast Pop Art Experimental Band,
Sister Nancy,
CMW,
Fluxion,
Shoche,
Y Pants,
Von Mondo,
The Tremeloes,
Minnie Riperton,
In Retrospect,
Bootsy Collins,
Q and Not U,
Rhythim Is Rhythim,
Pylon,
The Men They Couldn't Hang,
Gil Scott-Heron & Brian Jackson,
The Smoke,
Black Flag,
Notorious BIG live in Amsterdam,
Moby Grape,
The Real Kids,
Parry Music,
Louis and Bebe Barron,
Hoover,
The Cowsills,
Faraquet,
Rowland S Howard / Lydia Lunch,
Kango’s Stein Massive,
Country Teasers,
The Dead C,
Terrestrial Tones,
Derrick May,
The Cramps,
Ken Boothe,
Talk Talk,
The Star Department,
Black Moon,
Johnny Clarke,
Bob Dylan,
Lebanon Hanover,
Tubeway Army,
Jerry's Kids,
Mary Jane Girls,
James White and The Blacks,
The Young Rascals,
The Human League,
Joe Finger,
Gichy Dan,
Flamin' Groovies,
Michelle Simonal,
Bobby Womack,
Skriet,
Matthew Bourne,
The Gun Club,
48th St. Collective,
Au Pairs,
Liliput,
Sex Pistols,
The Sisters of Mercy,
Major Organ And The Adding Machine,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.