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 Swaziland and from Calgary.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Paris 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Fear 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 Jacob Miller. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every The Saints 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Throbbing Gristle,
The Mummies,
The Saints,
Richard Hell and the Voidoids,
Rosa Yemen,
E-Dancer,
Main Source,
Isaac Hayes,
The Doors,
Cluster,
Oppenheimer Analysis,
The Searchers,
Icehouse,
The Kinks,
D'Angelo,
Stiv Bators,
Stereo Dub,
Heavy D & The Boyz,
John Cale,
the Sonics,
Joy Division,
Althea and Donna,
James White and The Blacks,
Deadbeat,
Pierre Henry,
Juan Atkins,
Eurythmics,
Alice Coltrane,
Bill Near,
Harry Pussy,
Hot Snakes,
Pagans,
Glambeats Corp.,
Rhythim Is Rhythim,
Henry Cow,
John Holt,
Yaz,
Teenage Jesus and the Jerks,
Yazoo,
Ultra Naté,
Swell Maps,
Sexual Harrassment,
Dr. Dre and Snoop Doggy Dog,
Robert Görl,
Suburban Knight,
Youth Brigade,
Tim Buckley,
Motorama,
Faust,
Mars,
Television Personalities,
Soft Machine,
Robert Hood,
Reagan Youth,
Q and Not U,
The Gories,
The Standells,
The Slits,
Flamin' Groovies,
Qualms, Qualms, Qualms, Qualms.
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.