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 Andorra and from Portland.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1977.
I'm losing my edge.
To all the kids in Houston and Cairo.
I'm losing my edge to the art-school Beijing 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Freddie Wadling to the rap kids.
I played it at Cafe Wha.
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 Banda Bassotti. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
H. Thieme,
the Bar-Kays,
Joe Smooth,
Prince Buster,
Lindisfarne,
Faust,
Tres Demented,
Reagan Youth,
Pole,
The Alarm Clocks,
Deakin,
10cc,
Gang of Four,
Vladislav Delay,
Anthony Braxton,
Organ,
Heavy D & The Boyz,
De La Soul & Jungle Brothers,
Carl Craig,
Aloha Tigers,
Warren Ellis,
Banda Bassotti,
Alison Limerick,
Scrapy,
Kerrie Biddell,
Gastr Del Sol,
The Mojo Men,
Avey Tare's Slasher Flicks,
Fat Boys,
Thee Headcoats,
The Modern Lovers,
Adolescents,
Grandmaster Flash and the Furious Five,
Lalann,
Barclay James Harvest,
Sticky Fingaz feat. Raekwon,
Althea and Donna,
Lower 48,
Alphaville,
Brass Construction,
Nik Kershaw,
Justin Hinds & The Dominoes,
Sun Ra Arkestra,
Davy DMX,
Ash Ra Tempel,
Chris & Cosey,
The Smiths,
Tropical Tobacco,
Rapeman,
Eric Dolphy,
Andrew Hill,
The Golliwogs,
James Chance & The Contortions,
Lucky Dragons,
Darondo,
Amazonics,
Roger Hodgson,
Alton Ellis,
Liaisons Dangereuses,
Half Japanese,
X-101,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.