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 East Timor and from Mumbai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1970.
I'm losing my edge.
To all the kids in New York and Edmonton.
I'm losing my edge to the art-school Tokyo 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Terry Callier to the crunk 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 Ponytail. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Crime 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 an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Derrick Morgan,
Roxy Music,
Röyhkä ja Rättö ja Lehtisalo,
Ken Boothe,
Aswad,
Gregory Isaacs,
Country Joe & The Fish,
Deepchord,
Vaughan Mason & Crew,
Brick,
Terry Callier,
Fluxion,
Mad Mike,
Q65,
Josef K,
Johnny Clarke,
Hardrive,
Flash Fearless,
In Retrospect,
The Music Machine,
Peter & Gordon,
Wasted Youth,
The Invisible,
Tears for Fears,
Kayak,
Susan Cadogan,
Liliput,
Robert Wyatt,
Todd Rundgren,
the Association,
Deutsch Amerikanische Freundschaft,
La Düsseldorf,
Ice-T,
The Alarm Clocks,
Public Image Ltd.,
Thee Headcoats,
Sad Lovers and Giants,
Scan 7,
The Remains,
The Jesus and Mary Chain,
Fear,
Neu!,
John Lydon,
Fela Kuti,
Zapp,
Niagra,
David Axelrod,
Oneida,
Saccharine Trust,
Ajijia Myrayebe,
Iggy Pop,
Connie Case,
Liaisons Dangereuses,
Kings Of Tomorrow,
June of 44,
Matthew Bourne,
Minny Pops,
Scrapy,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.