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 Korea South and from New York.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Jakarta 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 Michael McDonald 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 Kaleidoscope to the jazz kids.
I played it at the Hacienda.
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 Franke. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Boogie Down Productions,
Oppenheimer Analysis,
The Mighty Diamonds,
John Lydon,
The Peanut Butter Conspiracy,
The Vogues,
Nation of Ulysses,
Strawberry Alarm Clock,
the Swans,
Vainqueur,
Quadrant,
Circle Jerks,
Graham Central Station,
Smog,
Mars,
John Cale,
Rites of Spring,
Lou Reed & John Cale,
Trumans Water,
The Shadows of Knight,
Eric Copeland,
Maleditus Sound,
Neu!,
Terry Callier,
Fatback Band,
Bobbi Humphrey,
Rhythm & Sound,
Eddi Front,
Hoover,
Loose Ends,
Angry Samoans,
The Walker Brothers,
Organ,
Jerry's Kids,
Anakelly,
the Sonics,
The Seeds,
Guru Guru,
Bauhaus,
Negative Approach,
the Fania All-Stars,
Barclay James Harvest,
Bobby Sherman,
Dennis Brown,
The Tremeloes,
Amon Düül,
Howard Jones,
Roxy Music,
Chris Corsano,
Joyce Sims,
Jandek,
The Busters,
Agitation Free,
Barrington Levy,
Zero Boys,
Derrick May,
The Beau Brummels,
Eve St. Jones,
Lalo Schifrin,
X-102, X-102, X-102, X-102.
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.