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 Yemen and from Stockholm.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Spokane and Tehran.
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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Joey Negro to the jazz kids.
I played it at CBGB's.
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 Maurizio. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Ultravox,
Swans,
Gabor Szabo,
Steve Hackett,
Second Layer,
Peter and Kerry,
Unrelated Segments,
Sällskapet,
the Slits,
Throbbing Gristle,
Roxette,
The Sisters of Mercy,
The Fuzztones,
Marmalade,
The Walker Brothers,
The Grass Roots,
Sonny Sharrock,
Altered Images,
Crispy Ambulance,
Amon Düül,
Fela Kuti,
Niagra,
Minnie Riperton,
Ornette Coleman,
Scott Walker,
Siglo XX,
Junior Murvin,
The Techniques,
Bill Near,
The Martian,
Das Ding,
The Cowsills,
Derrick May,
The Smoke,
The Names,
Quando Quango,
Arthur Verocai,
The Alarm Clocks,
KRS-One,
Selector Dub Narcotic,
In Retrospect,
Barclay James Harvest,
Lungfish,
The Residents,
Spandau Ballet,
The Barracudas,
Hot Snakes,
Peter Gordon & Love of Life Orchestra,
Angry Samoans,
Motorama,
Marvin Gaye,
Susan Cadogan,
Marshall Jefferson,
Jawbox,
Mars,
Skarface,
Lafayette Afro Rock Band,
James White and The Blacks,
Maurizio,
Arab on Radar,
Blancmange,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.