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 Estonia and from Woodstock.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
I'm losing my edge to the art-school Lyon 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 Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 John Cale to the grime kids.
I played it at the Roxy.
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 Dual Sessions. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bill Near record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Judy Mowatt,
Justin Hinds & The Dominoes,
Rapeman,
Letta Mbulu,
Scrapy,
Mantronix,
The Names,
Public Enemy,
Drive Like Jehu,
Junior Murvin,
Lee Hazlewood,
The Raincoats,
Basic Channel,
Ronan,
a-ha,
Rufus Thomas,
The Blues Magoos,
Slick Rick,
Y Pants,
R.M.O.,
Gian Franco Pienzio,
Spandau Ballet,
The Slits,
Byron Stingily,
Vaughan Mason & Crew,
Kango’s Stein Massive,
Bluetip,
Boredoms,
Flipper,
Moss Icon,
Con Funk Shun,
Patti Smith,
James Chance & The Contortions,
Gary Puckett & The Union Gap,
The Cure,
Larry & the Blue Notes,
Fort Wilson Riot,
Max Romeo,
the Swans,
Lou Reed & Metallica,
Marcia Griffiths,
Grandmaster Flash and the Furious Five,
The Saints,
The Mighty Diamonds,
Radiopuhelimet,
The Modern Lovers,
the Slits,
Pantytec,
Howard Jones,
Nas,
Sarah Menescal,
The Associates,
Von Mondo,
Connie Case,
Q65,
Soul Sonic Force,
Lou Reed,
Pussy Galore,
Mars,
MC5,
Lebanon Hanover,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.