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 Mozambique and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Seoul and Tokyo.
I'm losing my edge to the art-school Calgary 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 Tom Verlaine 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 Von Mondo to the rock 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 Wings. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Jimmy McGriff,
Fatback Band,
Ronan,
The Sisters of Mercy,
the Fania All-Stars,
John Coltrane,
Organ,
a-ha,
Aloha Tigers,
The Dirtbombs,
The Toasters,
Echo & the Bunnymen,
Glambeats Corp.,
Bill Near,
The Neon Judgement,
Inner City,
Ponytail,
The Flesh Eaters,
Amon Düül II,
Laurel Aitken,
Lonnie Liston Smith,
Agent Orange,
Goldenarms,
Eli Mardock,
Kango’s Stein Massive,
Peter and Kerry,
Avey Tare & Kría Brekkan,
Kool G Rap & DJ Polo,
Robert Hood,
MC5,
the Germs,
Captain Beefheart & His Magic Band,
Donny Hathaway,
Moby Grape,
Soul Sonic Force,
Mr. Review,
Lou Reed & Metallica,
The Beau Brummels,
Parry Music,
Bush Tetras,
Television Personalities,
The Cowsills,
Bobby Sherman,
The Fuzztones,
Arthur Verocai,
Youth Brigade,
Grauzone,
Roxette,
The Star Department,
The Alarm Clocks,
The Saints,
Niagra,
Whodini,
Albert Ayler,
Sparks,
Scott Walker,
Donald Byrd,
The Move,
Graham Central Station,
The Sound,
Pagans,
Deadbeat,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.