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 Maldives and from Beijing.
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 1963 to 1970.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Mumbai 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 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 Shoche to the jazz kids.
I played it at the Hacienda.
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 Ultimate Spinach. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Residents record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 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 Remains,
John Holt,
The Detroit Cobras,
Bizarre Inc.,
Jimmy McGriff,
Alphaville,
U.S. Maple,
Derrick Morgan,
Peter and Kerry,
Gian Franco Pienzio,
Pantaleimon,
Inner City,
Lucky Dragons,
Dawn Penn,
Intrusion,
Surgeon,
Half Japanese,
Dead Boys,
Shoche,
Royal Trux,
Silicon Teens,
Traffic Nightmare,
Metal Thangz,
Gil Scott-Heron & Brian Jackson,
The Star Department,
JFA,
Sunsets and Hearts,
Rosa Yemen,
Chris Corsano,
Terror Squad Feat. Camron,
Roxette,
Khruangbin,
The Evens,
Suburban Knight,
Sad Lovers and Giants,
Massinfluence,
The Seeds,
X-Ray Spex,
The Walker Brothers,
James White and The Blacks,
Ken Boothe,
Stereo Dub,
New Order,
Rod Modell,
Delon & Dalcan,
Index,
New York Dolls,
The Index,
Robert Wyatt,
Drive Like Jehu,
UT,
This Heat,
Michelle Simonal,
Ronan,
Notorious Big And Bone Thugs,
The Jesus and Mary Chain,
Mark Hollis,
Crooked Eye,
Sam Rivers,
Ultimate Spinach,
Glenn Branca,
Fort Wilson Riot,
Scion, Scion, Scion, Scion.
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.