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 Argentina and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1977.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 Marvin Gaye to the funk 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 Ten City. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every the Swans 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Shoche,
Harry Pussy,
Michelle Simonal,
kango's stein massive,
Big Daddy Kane,
Procol Harum,
Minutemen,
Young Marble Giants,
Thompson Twins,
The United States of America,
Swell Maps,
Terrestrial Tones,
Jerry Gold Smith,
Eve St. Jones,
Pete Rock & C.L. Smooth,
Pharaoh Sanders and the Fire Engines,
Wally Richardson,
Stiv Bators,
Banda Bassotti,
Cheater Slicks,
Clear Light,
The Slits,
Hasil Adkins,
Selector Dub Narcotic,
Alton Ellis,
Nick Fraelich,
Cal Tjader,
Bronski Beat,
The Kinks,
Prince Buster,
Joyce Sims,
B.T. Express,
Lucky Dragons,
Cecil Taylor,
JFA,
Major Organ And The Adding Machine,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boredoms,
The Knickerbockers,
Sly & The Family Stone,
Gong,
The Beau Brummels,
Ohio Players,
Visage,
Sugar Minott,
The Buckinghams,
Country Teasers,
Con Funk Shun,
Manfred Mann's Earth Band,
Nirvana,
Echospace,
New Age Steppers,
Wire,
Ice-T,
Infiniti,
Magma,
Graham Central Station,
Kurtis Blow,
Lyres,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.