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 Guinea-Bissau and from Tokyo.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Salvador 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 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 Jesper Dahlback to the crunk 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 Wasted Youth. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal dance 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 an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Quando Quango record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Minutemen,
Peter and Kerry,
Man Eating Sloth,
Marmalade,
The Moody Blues,
Nils Olav,
Rowland S Howard / Lydia Lunch,
Sam Rivers,
Ossler,
Derrick Morgan,
Ohio Players,
The Wake,
Lizzy Mercier Descloux,
Parry Music,
Interpol,
Max Romeo,
Scott Walker + Sunn O))),
One Last Wish,
Radio Birdman,
The Moleskins,
Lafayette Afro Rock Band,
Tim Buckley,
Gastr Del Sol,
Bluetip,
Echospace,
Siglo XX,
Gil Scott Heron,
Malaria!,
Lou Christie,
Deadbeat,
Johnny Clarke,
The Saints,
Dawn Penn,
Sticky Fingaz feat. Raekwon,
Pylon,
Sarah Menescal,
Country Teasers,
The Names,
The Shadows of Knight,
Neu!,
Y Pants,
Notorious Big And Bone Thugs,
Kas Product,
Jacques Brel,
Talk Talk,
Country Joe & The Fish,
Q65,
Carl Craig,
Pierre Henry,
The Real Kids,
Royal Trux,
Stetsasonic,
Bootsy's Rubber Band,
Electric Prunes,
The Gories,
Underground Resistance,
New Age Steppers,
Joe Finger,
Slave,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.