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 Monaco and from Glasgow.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
I'm losing my edge to the art-school Calgary 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 guitar 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 X-102 to the rock 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 The Standells. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Residents,
X-Ray Spex,
The Slackers,
The Busters,
Metal Thangz,
Pantytec,
The Mojo Men,
Maleditus Sound,
The New Christs,
The Saints,
Röyhkä ja Rättö ja Lehtisalo,
Rhythm & Sound,
Gichy Dan,
Dead Boys,
Lou Reed & John Cale,
Gil Scott Heron,
A Certain Ratio,
Zapp,
Drexciya,
Graham Central Station,
10cc,
Pharoah Sanders,
Negative Approach,
Howard Jones,
Qualms,
Richard Hell and the Voidoids,
Colin Newman,
Arthur Verocai,
Terror Squad Feat. Camron,
The Beau Brummels,
Lee Hazlewood,
The Selecter,
Bootsy Collins,
Dawn Penn,
UT,
Faraquet,
Sexual Harrassment,
Motorama,
London Community Gospel Choir,
Simply Red,
The Pretty Things,
Bobby Hutcherson,
Severed Heads,
Mr. Review,
New Age Steppers,
Accadde A,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Jandek,
Don Cherry,
Basic Channel,
Parry Music,
Alton Ellis,
Nation of Ulysses,
Smog,
Neil Young,
Kayak,
The Martian,
Lungfish,
Chrome,
Brothers Johnson, Brothers Johnson, Brothers Johnson, Brothers Johnson.
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.