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 Belize and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Lagos and Accra.
I'm losing my edge to the art-school Spokane 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 oboe 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 Slick Rick to the grime 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 Young Marble Giants. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Supertramp 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 a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a H. Thieme record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
Panda Bear,
Minny Pops,
Man Parrish,
Intrusion,
Gil Scott-Heron & Brian Jackson,
Bootsy's Rubber Band,
Nick Cave & The Bad Seeds,
Gabor Szabo,
Brass Construction,
Subhumans,
Blancmange,
Sarah Menescal,
The Flesh Eaters,
Aloha Tigers,
Avey Tare's Slasher Flicks,
Tommy Roe,
Moebius,
Newcleus,
Bootsy Collins,
Sun City Girls,
Ken Boothe,
48th St. Collective,
Franke,
Joe Finger,
Hot Snakes,
Warren Ellis,
The Walker Brothers,
Deadbeat,
Surgeon,
Scan 7,
Quando Quango,
Rhythm & Sound,
The Fortunes,
Robert Görl,
Terror Squad Feat. Camron,
The Star Department,
Duran Duran,
Lonnie Liston Smith,
The Toasters,
Make Up,
Richard Hell and the Voidoids,
the Slits,
Fluxion,
Neu!,
Marshall Jefferson,
Kool G Rap & DJ Polo,
Steve Hackett,
Con Funk Shun,
Jesper Dahlbäck,
The Stooges,
Q and Not U,
Hardrive,
Roy Ayers Ubiquity,
Pete Rock & C.L. Smooth,
Echospace,
Das Ding,
Gregory Isaacs,
Yazoo,
Groovy Waters,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.