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 Tunisia and from Calgary.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Accra and Taipei.
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 1975 at the first Throbbing Gristle 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 Unrelated Segments to the techno 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 The Smiths. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Moby Grape 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Matthew Halsall,
Crash Course in Science,
Althea and Donna,
Ultra Naté,
AZ,
The Smoke,
Gabor Szabo,
Maleditus Sound,
Graham Central Station,
John Foxx,
ABC,
Liliput,
Richard Hell and the Voidoids,
Supertramp,
The Smiths,
The Human League,
Manfred Mann's Earth Band,
Oneida,
Rahsaan Roland Kirk,
Tropical Tobacco,
Los Fastidios,
Barry Ungar,
Mary Jane Girls,
Gong,
Kool Moe Dee,
LL Cool J,
Joe Smooth,
Agitation Free,
Massinfluence,
the Slits,
The J.B.'s,
Joyce Sims,
Kool G Rap & DJ Polo,
Bauhaus,
Nirvana,
Sarah Menescal,
Dark Day,
Spoonie Gee,
Michelle Simonal,
James Chance & The Contortions,
The Zeros,
Visionaries,LMNO, T- Love & Iriscience,
Bootsy's Rubber Band,
The Modern Lovers,
Judy Mowatt,
The Last Poets,
Lalo Schifrin,
Desert Stars,
Sunsets and Hearts,
Kas Product,
The Detroit Cobras,
Lower 48,
Electric Light Orchestra,
Janne Schatter,
Sound Behaviour,
Jandek,
Magazine,
Reagan Youth,
Motorama,
T.S.O.L.,
Pagans,
D'Angelo,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.