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 Bulgaria and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Delhi 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 Lou Reed 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 Black Bananas to the jazz 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 The Star Department. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Strawberry Alarm Clock,
Magazine,
kango's stein massive,
Ultravox,
Deadbeat,
Ajijia Myrayebe,
Maurizio,
Bobby Hutcherson,
Derrick Morgan,
Fatback Band,
the Swans,
Orchestral Manoeuvres in the Dark,
Interpol,
Boogie Down Productions,
Excepter,
The Selecter,
EPMD,
Stetsasonic,
Idris Muhammad,
Television Personalities,
Ultramagnetic MC's,
Pete Rock & C.L. Smooth,
the Association,
The Monochrome Set,
Manfred Mann's Earth Band,
Jandek,
Oppenheimer Analysis,
Das Ding,
John Foxx,
Sad Lovers and Giants,
Lalann,
Rotary Connection,
Rekid,
Rakim,
Max Romeo,
The Blackbyrds,
Joe Smooth,
Red Lorry Yellow Lorry,
Gil Scott-Heron & Brian Jackson,
Marine Girls,
Babytalk,
Minor Threat,
Au Pairs,
Theoretical Girls,
Gabor Szabo,
Soft Machine,
Notorious BIG live in Amsterdam,
Chris & Cosey,
In Retrospect,
The Fortunes,
Magma,
Wolf Eyes,
Crispy Ambulance,
Andrew Hill,
The Alarm Clocks,
Arthur Verocai,
Tropical Tobacco,
Symarip,
DeepChord presents Echospace,
Absolute Body Control,
Gang Starr,
The Walker Brothers,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.