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 Moldova and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1977.
I'm losing my edge.
To all the kids in Beijing and New York.
I'm losing my edge to the art-school London 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 mellotron 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 Loose Ends to the funk 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 Wake. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Maurizio,
Oneida,
Rotary Connection,
Bill Near,
Susan Cadogan,
Alice Coltrane,
The Moody Blues,
Das Ding,
Duran Duran,
Mandrill,
Sarah Menescal,
the Germs,
Fort Wilson Riot,
Thee Headcoats,
Avey Tare,
R.M.O.,
The Victims,
Cheater Slicks,
Boz Scaggs,
Beasts of Bourbon,
Oppenheimer Analysis,
Kurtis Blow,
F. McDonald,
Pharoah Sanders,
Scott Walker,
Nation of Ulysses,
New Order,
The Fortunes,
Fugazi,
Aaron Thompson,
The Last Poets,
Soulsonic Force,
Soft Machine,
Skaos,
Graham Central Station,
Sam Rivers,
Eric B and Rakim,
Louis and Bebe Barron,
Robert Hood,
Connie Case,
The Dead C,
Masters at Work,
Motorama,
Scratch Acid,
Barclay James Harvest,
Gregory Isaacs,
China Crisis,
Manfred Mann's Earth Band,
Davy DMX,
Kerri Chandler,
Rod Modell,
Crispian St. Peters,
The Busters,
Swell Maps,
LL Cool J,
Grey Daturas,
K-Klass, K-Klass, K-Klass, K-Klass.
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.