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 Luxembourg and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1975.
I'm losing my edge.
To all the kids in Madrid and Cairo.
I'm losing my edge to the art-school Cairo 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 Michael McDonald 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 Rowland S Howard / Lydia Lunch to the disco kids.
I played it at the Crocodile.
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 Underground Resistance. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Avey Tare's Slasher Flicks,
The Fugs,
Joy Division,
The Raincoats,
The Fire Engines,
The Human League,
CMW,
Orchestral Manoeuvres in the Dark,
Audionom,
Colin Newman,
Iggy Pop,
Aswad,
Public Image Ltd.,
Severed Heads,
Kurtis Blow,
London Community Gospel Choir,
Michelle Simonal,
Crispy Ambulance,
Traffic Nightmare,
Eric B and Rakim,
Chrome,
Cameo,
ABC,
Faraquet,
Piero Umiliani,
Dark Day,
These Immortal Souls,
Andrew Ashong & Theo Parrish,
Kenny Larkin,
Marshall Jefferson,
The Smoke,
Oneida,
Man Parrish,
Kauko Röyhkä ja Narttu,
Mary Jane Girls,
Depeche Mode,
The Motions,
Inner City,
The Jesus and Mary Chain,
Sarah Menescal,
Suburban Knight,
Zero Boys,
Scion,
Funky Four + One,
Danielle Patucci,
Marmalade,
Eddi Front,
Alice Coltrane,
The Sisters of Mercy,
Judy Mowatt,
Das Ding,
Sixth Finger,
Monolake,
Graham Central Station,
Donald Byrd,
D'Angelo,
Babytalk,
cv313,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.