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 Austria and from Tokyo.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Bologna 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Mr. Review to the grunge kids.
I played it at the Roxy.
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 Sällskapet. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal techno 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 a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Nik Kershaw,
Rufus Thomas,
Black Pus,
Howard Jones,
Fat Boys,
Hasil Adkins,
Joe Finger,
Piero Umiliani,
New York Dolls,
Todd Terry,
Japan,
The Smiths,
Sonny Sharrock,
Dark Day,
The Victims,
Bill Near,
Scan 7,
Bobby Womack,
Art Ensemble Of Chicago,
Deakin,
Kayak,
Bob Dylan,
Camberwell Now,
Strawberry Alarm Clock,
Blake Baxter,
Pantaleimon,
Graham Central Station,
The Seeds,
The Golliwogs,
Nick Cave & The Bad Seeds,
Ituana,
Boogie Down Productions,
Donny Hathaway,
The Skatalites,
The Sisters of Mercy,
Cal Tjader,
Derrick Morgan,
Spoonie Gee,
H. Thieme,
the Sonics,
Ronnie Foster,
London Community Gospel Choir,
Livin' Joy,
Robert Görl,
Unrelated Segments,
Brass Construction,
Animal Collective,
Warsaw,
Scratch Acid,
Liliput,
Ludus,
Q and Not U,
Hashim,
Jandek,
Erasure,
Althea and Donna,
Gang Green,
The Dead C,
Roger Hodgson,
Lyres,
Barry Ungar,
Orchestral Manoeuvres in the Dark,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.