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 Honduras and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lagos and Lille.
I'm losing my edge to the art-school Tokyo 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 Lou Reed 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 Chris Corsano to the techno kids.
I played it at Cafe Wha.
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 Metal Thangz. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
Moby Grape,
Fad Gadget,
Essential Logic,
Visage,
Infiniti,
the Fania All-Stars,
Loose Ends,
Gong,
Flash Fearless,
The Blues Magoos,
Lebanon Hanover,
Gerry Rafferty,
London Community Gospel Choir,
Bobby Byrd,
Idris Muhammad,
Godley & Creme,
Sonny Sharrock,
The Men They Couldn't Hang,
The Victims,
The Gap Band,
James Chance & The Contortions,
Notorious Big And Bone Thugs,
Brick,
OOIOO,
The Misunderstood,
T. Rex,
Anthony Braxton,
Marvin Gaye,
Swans,
Scrapy,
Hashim,
Stereo Dub,
Soul II Soul,
Robert Hood,
Yellowson,
John Foxx,
Todd Rundgren,
Bill Near,
Harpers Bizarre,
The Fire Engines,
Frankie Knuckles,
Aural Exciters,
Tommy Roe,
Sam Rivers,
Alton Ellis,
Pere Ubu,
Mandrill,
Boredoms,
Deakin,
The Mojo Men,
Minny Pops,
The Smiths,
Skriet,
The Busters,
Jerry's Kids,
Neu!,
Kings Of Tomorrow,
Cal Tjader,
Pharaoh Sanders and the Fire Engines,
The Sound,
Rapeman,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.