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 United States and from Stockholm.
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 Lyon and Johannesburg.
I'm losing my edge to the art-school Lagos 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Walker Brothers to the grunge kids.
I played it at Cafe Wha.
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 Stockholm Monsters. All the underground hits.
All Be Bop Deluxe tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Liliput,
Symarip,
The Alarm Clocks,
The Associates,
Todd Rundgren,
Tropical Tobacco,
R.M.O.,
Das Ding,
Index,
Flamin' Groovies,
Andrew Hill,
Godley & Creme,
The Kinks,
Kaleidoscope,
Barbara Tucker,
Marine Girls,
The Martian,
James Chance & The Contortions,
Charles Mingus,
Public Enemy,
Tres Demented,
DeepChord presents Echospace,
Eric Dolphy,
Neu!,
The Doors,
Sad Lovers and Giants,
Deadbeat,
Anakelly,
Kango’s Stein Massive,
Lou Reed & Metallica,
UT,
Lindisfarne,
Lightning Bolt,
New Age Steppers,
This Heat,
Boredoms,
Kayak,
Ornette Coleman,
Rahsaan Roland Kirk,
Alton Ellis,
Sun Ra Arkestra,
Pete Rock & C.L. Smooth,
Unrelated Segments,
Gil Scott-Heron and Jamie xx,
Barrington Levy,
The Grass Roots,
Joensuu 1685,
Animal Collective,
Grandmaster Flash and the Furious Five,
Lower 48,
Lucky Dragons,
The Motions,
Young Marble Giants,
Royal Trux,
The Misunderstood,
The Skatalites,
Sandy B,
Sixth Finger,
Faraquet,
Louis and Bebe Barron,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.