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 Zambia and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator 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 OOIOO to the grunge 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 Move. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Deakin,
Lou Christie,
Los Fastidios,
The Slits,
the Slits,
Goldenarms,
James Chance & The Contortions,
Pylon,
The Kinks,
Underground Resistance,
Magazine,
The Pop Group,
Ronan,
Scan 7,
Mark Hollis,
The Alarm Clocks,
Inner City,
Urselle,
Byron Stingily,
Sound Behaviour,
Lizzy Mercier Descloux,
Rites of Spring,
Faraquet,
Glambeats Corp.,
Heavy D & The Boyz,
Robert Wyatt,
Marine Girls,
The Detroit Cobras,
Sunsets and Hearts,
Ornette Coleman,
Manfred Mann's Earth Band,
Avey Tare,
Whodini,
Skarface,
Lou Reed & John Cale,
Andrew Hill,
Con Funk Shun,
Livin' Joy,
Bobby Sherman,
Interpol,
Television,
Metal Thangz,
Little Man,
The Count Five,
Crispian St. Peters,
Pharoah Sanders,
T. Rex,
Black Moon,
Fatback Band,
Hasil Adkins,
Joe Smooth,
Carl Craig,
Y Pants,
Cybotron,
Leonard Cohen,
Ituana,
KRS-One,
Trumans Water,
Yusef Lateef,
Lebanon Hanover,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.