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 Venezuela and from Hong Kong.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Spokane and Accra.
I'm losing my edge to the art-school Lyon 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 Pharoah Sanders to the funk 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 Ohio Players. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every The Sound 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Amon Düül II,
The Walker Brothers,
Slave,
The Young Rascals,
the Swans,
Kevin Saunderson,
Brass Construction,
the Germs,
Swell Maps,
It's A Beautiful Day,
Matthew Bourne,
Thee Headcoats,
Neil Young & Crazy Horse,
China Crisis,
La Düsseldorf,
Black Moon,
Interpol,
The Barracudas,
Barrington Levy,
Suburban Knight,
Albert Ayler,
Leonard Cohen,
Frankie Knuckles,
the Association,
Orchestral Manoeuvres in the Dark,
Lou Reed & Metallica,
Yusef Lateef,
Terrestrial Tones,
Goldenarms,
Tom Boy,
Visage,
Donny Hathaway,
Moby Grape,
Notorious BIG live in Amsterdam,
Lakeside,
Marc Almond,
The Saints,
Sällskapet,
Sun Ra Arkestra,
This Heat,
Teenage Jesus and the Jerks,
London Community Gospel Choir,
Roy Ayers Ubiquity,
The Cramps,
Rotary Connection,
Pharoah Sanders,
Arthur Verocai,
The Leaves,
Agent Orange,
Crispy Ambulance,
Audionom,
Newcleus,
a-ha,
Soft Machine,
Barbara Tucker,
Chrome,
Scratch Acid,
Selector Dub Narcotic,
Bobby Womack,
Niagra,
Crime,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.