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 Canada and from Madrid.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Cairo and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Eric Copeland to the electroclash kids.
I played it at the Spitz.
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 Terror Squad Feat. Camron. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Deakin 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
Sight & Sound,
The Jesus and Mary Chain,
The Monks,
Yaz,
Scientists,
Interpol,
Aswad,
kango's stein massive,
The Searchers,
The Smoke,
the Fania All-Stars,
Flash Fearless,
Pierre Henry,
Siglo XX,
Scrapy,
Oneida,
Wolf Eyes,
The Fall,
Second Layer,
Rekid,
Procol Harum,
Reuben Wilson,
Jacques Brel,
U.S. Maple,
Rowland S Howard / Lydia Lunch,
Pet Shop Boys,
Matthew Bourne,
Flipper,
The Chocolate Watch Band,
Desert Stars,
Oppenheimer Analysis,
Rhythim Is Rhythim,
Soft Machine,
Moby Grape,
World's Most,
Section 25,
Ituana,
Slave,
The Index,
Sex Pistols,
Mark Hollis,
Eyeless In Gaza,
Deutsch Amerikanische Freundschaft,
The Blues Magoos,
Donny Hathaway,
Black Bananas,
Soul Sonic Force,
Bush Tetras,
Sun City Girls,
Harpers Bizarre,
Justin Hinds & The Dominoes,
The Martian,
The Litter,
Sonic Youth,
Amazonics,
Rahsaan Roland Kirk,
Circle Jerks,
Sonny Sharrock,
Animal Collective,
Jawbox,
The Cowsills,
Index,
X-102, X-102, X-102, X-102.
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.