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 Glasgow.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Cairo and Lagos.
I'm losing my edge to the art-school Toronto 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Teenage Jesus and the Jerks to the disco 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 Mr. Review. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
The Remains,
Radio Birdman,
Siglo XX,
The Monochrome Set,
Gong,
Cheater Slicks,
Rufus Thomas,
Janne Schatter,
Deutsch Amerikanische Freundschaft,
Sexual Harrassment,
Symarip,
Procol Harum,
Skaos,
Prince Buster,
Banda Bassotti,
kango's stein massive,
Yaz,
Derrick May,
R.M.O.,
Kas Product,
T. Rex,
Excepter,
Au Pairs,
Pylon,
The Vogues,
Amon Düül,
Joe Smooth,
The Skatalites,
Cameo,
Nirvana,
Blancmange,
Scrapy,
Deadbeat,
Don Cherry,
Fort Wilson Riot,
Ohio Players,
Marc Almond,
The Peanut Butter Conspiracy,
Aaron Thompson,
The Blues Magoos,
Bauhaus,
Josef K,
cv313,
Roxy Music,
Bobby Hutcherson,
The Knickerbockers,
The Residents,
Nick Fraelich,
Harpers Bizarre,
Agent Orange,
Pharaoh Sanders and the Fire Engines,
Man Eating Sloth,
Can,
Iggy Pop,
The Sound,
Bad Manners,
48th St. Collective,
Kayak,
Traffic Nightmare,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.