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 Italy and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television 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 1963 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Houston.
I'm losing my edge to the art-school Seoul 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 guitar sounds with much patience.
I was there when David Bowie 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 Derrick May to the rock 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 Crispy Ambulance. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Scrapy,
Theoretical Girls,
Alison Limerick,
Man Eating Sloth,
The Fire Engines,
Shuggie Otis,
Lonnie Liston Smith,
Camouflage,
Brothers Johnson,
Section 25,
John Cale,
Camron Feat. Jay Z And Juelz,
The Monks,
The Alarm Clocks,
Ludus,
The West Coast Pop Art Experimental Band,
Fort Wilson Riot,
Vainqueur,
Accadde A,
The Star Department,
the Swans,
Brick,
Kerrie Biddell,
Cecil Taylor,
Soul II Soul,
Johnny Clarke,
Cabaret Voltaire,
Dead Boys,
The Blackbyrds,
Scott Walker,
Bill Wells,
Rotary Connection,
Bluetip,
Joyce Sims,
Urselle,
The Doobie Brothers,
Pylon,
Spandau Ballet,
London Community Gospel Choir,
the Slits,
One Last Wish,
Barry Ungar,
Das Ding,
Letta Mbulu,
Drive Like Jehu,
The Moleskins,
Justin Hinds & The Dominoes,
Deakin,
The Leaves,
Silicon Teens,
Graham Central Station,
Terror Squad Feat. Camron,
Thee Headcoats,
Scan 7,
Marine Girls,
Flash Fearless,
Monks,
Trumans Water,
Masters at Work,
Model 500,
Nils Olav,
Circle Jerks,
Scott Walker + Sunn O))),
Monolake, Monolake, Monolake, Monolake.
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.