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 Turkmenistan and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Taipei and Cairo.
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 clarinet 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 Red Lorry Yellow Lorry 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 Masters at Work. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Magazine,
The Pop Group,
Popol Vuh,
Cecil Taylor,
Mad Mike,
Eyeless In Gaza,
Outsiders,
Audionom,
Neu!,
Royal Trux,
Oneida,
Pulsallama,
Amon Düül II,
Essential Logic,
Icehouse,
Max Romeo,
Be Bop Deluxe,
Cluster,
Avey Tare,
the Soft Cell,
John Coltrane,
The Grass Roots,
Tropical Tobacco,
Vainqueur,
Letta Mbulu,
Ultramagnetic MC's,
Neil Young & Crazy Horse,
Sonic Youth,
Franke,
Deutsch Amerikanische Freundschaft,
Big Daddy Kane,
Stereo Dub,
Deepchord,
Stockholm Monsters,
Whodini,
Camouflage,
John Foxx,
DJ Sneak,
Rowland S Howard / Lydia Lunch,
Das Ding,
Wally Richardson,
Jeru the Damaja,
The West Coast Pop Art Experimental Band,
Idris Muhammad,
Roxette,
Black Sheep,
Jerry Gold Smith,
Todd Rundgren,
Alton Ellis,
Basic Channel,
Donald Byrd,
Notorious BIG live in Amsterdam,
Fifty Foot Hose,
Bobby Sherman,
Pussy Galore,
Brand Nubian,
Nils Olav,
The Alarm Clocks,
Camberwell Now,
Jawbox, Jawbox, Jawbox, Jawbox.
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.