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 Ivory Coast and from Accra.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 Mexico City and Philadelphia.
I'm losing my edge to the art-school Taipei 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Crime to the electroclash 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 DJ Style. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Pulsallama,
Be Bop Deluxe,
The Last Poets,
This Heat,
The Sisters of Mercy,
Roy Ayers,
The Mummies,
Robert Wyatt,
Josef K,
The Beau Brummels,
The Birthday Party,
Magma,
Thinking Fellers Union Local 282,
Spoonie Gee,
Mark Hollis,
Eden Ahbez,
The Fortunes,
Ice-T,
The Real Kids,
Neil Young & Crazy Horse,
A Certain Ratio,
Symarip,
Roger Hodgson,
Deakin,
Art Ensemble Of Chicago,
The Monks,
Cecil Taylor,
The Leaves,
Lou Reed,
Glambeats Corp.,
Slave,
X-101,
DJ Sneak,
Barclay James Harvest,
Ajijia Myrayebe,
Quadrant,
Stetsasonic,
Bobby Sherman,
Shuggie Otis,
Sad Lovers and Giants,
Ultra Naté,
Toni Rubio,
Royal Trux,
The Detroit Cobras,
Angry Samoans,
Pierre Henry,
Scrapy,
La Düsseldorf,
Jacob Miller,
Blancmange,
The Slackers,
Throbbing Gristle,
The Index,
Gong,
Japan,
Ralphi Rosario,
the Human League,
Eric Copeland,
Alton Ellis,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.