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 Malawi and from Lagos.
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 1972.
I'm losing my edge.
To all the kids in Manila and Portland.
I'm losing my edge to the art-school Manila 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 1978 at the first Visage practice in a loft in London.
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 The Kinks to the grunge kids.
I played it at CBGB's.
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 Byron Stingily. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Rufus Thomas,
Cymande,
Gang Green,
The Red Krayola,
Magma,
Underground Resistance,
Reuben Wilson,
Frankie Knuckles,
Rakim,
Oneida,
Derrick May,
The Alarm Clocks,
Anthony Braxton,
A Certain Ratio,
Organ,
June of 44,
The Selecter,
Roger Hodgson,
Skriet,
Slick Rick,
Ossler,
Bob Dylan,
Lakeside,
Thee Headcoats,
Jandek,
Traffic Nightmare,
Rekid,
Can,
Fifty Foot Hose,
The Cosmic Jokers,
Brass Construction,
Rowland S Howard / Lydia Lunch,
John Holt,
Negative Approach,
Black Flag,
Ultimate Spinach,
Captain Beefheart & His Magic Band,
Grandmaster Flash,
The Black Dice,
Angels of Light & Akron/Family,
The Dirtbombs,
Stereo Dub,
Urselle,
The Cure,
Main Source,
Public Enemy,
Bobby Hutcherson,
X-102,
The Electric Prunes,
Notorious Big And Bone Thugs,
Neil Young & Crazy Horse,
Drive Like Jehu,
Marc Almond,
Gabor Szabo,
Jeff Lynne,
Strawberry Alarm Clock,
Suburban Knight,
Radiopuhelimet,
Camron Feat. Memphis Bleek And Beenie Seigel,
Kerrie Biddell,
Newcleus, Newcleus, Newcleus, Newcleus.
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.