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 Bolivia and from Accra.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Seoul and Toronto.
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 clarinet sounds with much patience.
I was there when Tom Verlaine 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 John Lydon to the electroclash kids.
I played it at the Troubador.
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 Liliput. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dorothy Ashby,
Andrew Hill,
Silicon Teens,
Connie Case,
The Knickerbockers,
Marine Girls,
The Raincoats,
Faraquet,
Simply Red,
The Flesh Eaters,
The Skatalites,
The Litter,
The Red Krayola,
Bad Manners,
Roy Ayers,
Ultra Naté,
Albert Ayler,
Gil Scott-Heron & Brian Jackson,
Joe Smooth,
Cabaret Voltaire,
Sun Ra Arkestra,
A Certain Ratio,
Boredoms,
Kool G Rap & DJ Polo,
Blancmange,
Roxette,
Mandrill,
Joe Finger,
Marc Almond,
Peter Gordon & Love of Life Orchestra,
The Last Poets,
Andrew Ashong & Theo Parrish,
Ronnie Foster,
Thee Headcoats,
Ultimate Spinach,
Lou Christie,
Selector Dub Narcotic,
Darondo,
Angry Samoans,
Organ,
Dual Sessions,
Lizzy Mercier Descloux,
Lalo Schifrin,
Ultramagnetic MC's,
The Sonics,
Major Organ And The Adding Machine,
Mary Jane Girls,
These Immortal Souls,
The Techniques,
Cymande,
The Doobie Brothers,
Urselle,
Charles Mingus,
Severed Heads,
Siglo XX,
Gong,
Bobbi Humphrey,
Kerrie Biddell,
the Germs,
Chris Corsano,
Erasure,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.