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 Bremen.
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 1968 to 1977.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Thompson Twins to the crunk kids.
I played it at the Astoria.
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 Crooked Eye. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Public Image Ltd. 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 arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Peter Gordon & Love of Life Orchestra,
Rosa Yemen,
R.M.O.,
The Durutti Column,
The Offenders,
Eddi Front,
Inner City,
The Music Machine,
Pantaleimon,
Gian Franco Pienzio,
June of 44,
Harmonia,
The Sonics,
Marcia Griffiths,
Aural Exciters,
Traffic Nightmare,
Althea and Donna,
Oneida,
Man Parrish,
Radiopuhelimet,
Echospace,
Oppenheimer Analysis,
Angry Samoans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Derrick May,
Röyhkä ja Rättö ja Lehtisalo,
The American Breed,
Grandmaster Flash and the Furious Five,
Glenn Branca,
Jeff Lynne,
Q and Not U,
Ludus,
Gastr Del Sol,
The Move,
The Litter,
Pulsallama,
The Men They Couldn't Hang,
Todd Terry,
Nick Fraelich,
Ponytail,
The Cure,
Main Source,
Agent Orange,
Brick,
Eric B and Rakim,
Hot Snakes,
Rhythm & Sound,
The Gories,
Amon Düül II,
Roxette,
Rhythim Is Rhythim,
Johnny Clarke,
DJ Style,
Marine Girls,
Mars,
Urselle,
Slick Rick,
Delon & Dalcan,
Sam Rivers,
June Days,
Masters at Work,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.