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 Marshall Islands and from Lyon.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 The West Coast Pop Art Experimental Band to the dance kids.
I played it at Trash.
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 The Mojo Men. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Hoover 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 '70s 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 Cluster record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ponytail,
The Dirtbombs,
The Trojans,
Kango’s Stein Massive,
Model 500,
The Vogues,
The Busters,
Franke,
Lonnie Liston Smith,
Monks,
The Electric Prunes,
Procol Harum,
Idris Muhammad,
Porter Ricks,
Vladislav Delay,
LL Cool J,
The United States of America,
Todd Terry,
Lizzy Mercier Descloux,
Iggy Pop,
China Crisis,
Avey Tare & Kría Brekkan,
Dual Sessions,
Young Marble Giants,
Ituana,
The Jesus and Mary Chain,
Marc Romboy vs. Booka Shade,
Amon Düül II,
Graham Central Station,
Lalann,
Flipper,
Soulsonic Force,
Schoolly D,
Sticky Fingaz feat. Raekwon,
Lalo Schifrin,
The Stooges,
Bluetip,
Kauko Röyhkä ja Narttu,
Mad Mike,
Glenn Branca,
Roy Ayers Ubiquity,
Erasure,
Sexual Harrassment,
Symarip,
Echospace,
Swell Maps,
Mandrill,
Pierre Henry,
Whodini,
The Offenders,
Aswad,
The Chocolate Watch Band,
New York Dolls,
Beasts of Bourbon,
Tears for Fears,
In Retrospect,
Crime,
Letta Mbulu,
Rhythm & Sound,
Magazine,
MC5, MC5, MC5, MC5.
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.