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 Uganda and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Toronto and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 snare sounds with much patience.
I was there when Tom Verlaine 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 the Soft Cell to the punk 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 Henry Cow. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every The Trojans 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 '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Wolf Eyes record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
48th St. Collective,
U.S. Maple,
Patti Smith,
Chris & Cosey,
Roy Ayers Ubiquity,
Blake Baxter,
Juan Atkins,
Quantec,
The Busters,
Sister Nancy,
Chris Corsano,
The Real Kids,
Boz Scaggs,
Brand Nubian,
Von Mondo,
Gil Scott-Heron & Brian Jackson,
Japan,
Reuben Wilson,
John Cale,
The Names,
Scan 7,
Neil Young & Crazy Horse,
Kool G Rap & DJ Polo,
Bronski Beat,
Orchestral Manoeuvres in the Dark,
Theoretical Girls,
The Slackers,
JFA,
Sarah Menescal,
Subhumans,
Sly & The Family Stone,
The Music Machine,
Pete Rock & C.L. Smooth,
Justin Hinds & The Dominoes,
Sandy B,
MDC,
Gong,
Peter Gordon & Love of Life Orchestra,
The Index,
David McCallum,
The Mojo Men,
Angry Samoans,
The Barracudas,
FM Einheit,
The Fuzztones,
London Community Gospel Choir,
John Coltrane,
Ralphi Rosario,
The Monks,
Fugazi,
Country Joe & The Fish,
Wasted Youth,
Rahsaan Roland Kirk,
Jesper Dahlbäck,
Rowland S Howard / Lydia Lunch,
The Shadows of Knight,
Country Teasers,
Amon Düül II,
Sad Lovers and Giants,
The Neon Judgement,
Bill Near, Bill Near, Bill Near, Bill Near.
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.