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 Montenegro and from Mexico City.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Salvador 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Pierre Henry to the dance kids.
I played it at the Troubador.
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 Jawbox. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal grime 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 a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Juan Atkins,
Roy Ayers Ubiquity,
Peter and Kerry,
Inner City,
Sparks,
Fluxion,
The Offenders,
The New Christs,
Gang Gang Dance,
Silicon Teens,
Arcadia,
Glambeats Corp.,
The United States of America,
Camron Feat. Memphis Bleek And Beenie Seigel,
Infiniti,
Magazine,
Archie Shepp,
The Fugs,
Los Fastidios,
Das Ding,
The Golliwogs,
Albert Ayler,
Gary Puckett & The Union Gap,
This Heat,
The Black Dice,
The Sisters of Mercy,
Moby Grape,
Brand Nubian,
Q65,
Kango’s Stein Massive,
The Smiths,
Marine Girls,
Rhythm & Sound,
Crispy Ambulance,
Robert Wyatt,
The Smoke,
Robert Hood,
Roger Hodgson,
Howard Jones,
Kauko Röyhkä ja Narttu,
Bill Near,
Main Source,
Cymande,
Black Flag,
David Bowie,
The Blackbyrds,
Dawn Penn,
Justin Hinds & The Dominoes,
Television,
Radio Birdman,
Ossler,
Clear Light,
Ronnie Foster,
Unwound,
Popol Vuh,
Kings Of Tomorrow,
Kool Moe Dee,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.