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 Somalia and from Taipei.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Accra and Delhi.
I'm losing my edge to the art-school Manchester 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the chamberlin 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 Country Teasers to the funk kids.
I played it at the 40 Watt.
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 Eve St. Jones. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Smog 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 '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
The Raincoats,
Eurythmics,
Susan Cadogan,
The Trojans,
The Names,
Cabaret Voltaire,
The Gun Club,
Man Eating Sloth,
Marc Romboy vs. Booka Shade,
Can,
The Last Poets,
World's Most,
Freddie Wadling,
Sam Rivers,
The Motions,
Eric Copeland,
Mo-Dettes,
Sad Lovers and Giants,
Lyres,
Rod Modell,
The Gap Band,
Essential Logic,
H. Thieme,
Joensuu 1685,
Cheater Slicks,
Anthony Braxton,
X-101,
Alphaville,
Pharoah Sanders,
Jimmy McGriff,
Qualms,
Parry Music,
Harry Pussy,
Peter and Kerry,
Wings,
Public Image Ltd.,
Kango’s Stein Massive,
Q and Not U,
Au Pairs,
Jerry Gold Smith,
Swans,
Moebius,
Peter Gordon & Love of Life Orchestra,
Ultra Naté,
The Blues Magoos,
Louis and Bebe Barron,
Infiniti,
Jerry's Kids,
Derrick May,
Delon & Dalcan,
Darondo,
Lou Reed & Metallica,
Wighnomy Brothers & Robag Wruhme,
Nirvana,
Index,
Röyhkä ja Rättö ja Lehtisalo,
Monks,
Quantec,
Country Teasers,
Ken Boothe,
Camouflage,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.