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 Guatemala and from Toronto.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Manchester and Taipei.
I'm losing my edge to the art-school Mumbai 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 808 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 Minnie Riperton to the crunk kids.
I played it at the Spitz.
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 Suburban Knight. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Adolescents,
Public Image Ltd.,
Public Enemy,
Parry Music,
Terrestrial Tones,
the Germs,
Kool G Rap & DJ Polo,
Robert Wyatt,
Rekid,
Be Bop Deluxe,
Ralphi Rosario,
One Last Wish,
Vaughan Mason & Crew,
Mark Hollis,
Tears for Fears,
Aaron Thompson,
Ludus,
Loose Ends,
Sunsets and Hearts,
the Human League,
Section 25,
Gil Scott-Heron and Jamie xx,
Piero Umiliani,
The Sound,
Joe Smooth,
Das Ding,
John Cale,
Man Parrish,
Carl Craig,
Wasted Youth,
Louis and Bebe Barron,
Lindisfarne,
Pole,
Andrew Hill,
Rites of Spring,
Stiv Bators,
June Days,
Röyhkä ja Rättö ja Lehtisalo,
China Crisis,
David Bowie,
The Velvet Underground,
LL Cool J,
Deutsch Amerikanische Freundschaft,
London Community Gospel Choir,
Wire,
Wolf Eyes,
Skaos,
Animal Collective,
Minnie Riperton,
Depeche Mode,
Negative Approach,
Ituana,
Henry Cow,
Echospace,
48th St. Collective,
The Black Dice,
Sticky Fingaz feat. Raekwon,
F. McDonald,
The Durutti Column,
Chrome,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.