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 Uganda and from Lyon.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1974.
I'm losing my edge.
To all the kids in Delhi and London.
I'm losing my edge to the art-school Madrid 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Accadde A to the disco kids.
I played it at the Astoria.
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 Mummies. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hot Snakes,
Audionom,
Super Lover Cee & Casanova Rud,
Tomorrow,
Theoretical Girls,
Yusef Lateef,
Albert Ayler,
Ice-T,
Nick Fraelich,
Agent Orange,
The Misunderstood,
Bill Wells,
Stetsasonic,
Rod Modell,
Ituana,
Gang Gang Dance,
the Sonics,
Second Layer,
Eli Mardock,
In Retrospect,
Delta 5,
Goldenarms,
Stiv Bators,
Unrelated Segments,
Bang On A Can,
Aaron Thompson,
Surgeon,
Kenny Larkin,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Cameo,
Dorothy Ashby,
Joe Smooth,
The Smiths,
Ten City,
Sexual Harrassment,
Marc Romboy vs. Booka Shade,
Con Funk Shun,
Morten Harket,
Letta Mbulu,
Sex Pistols,
Tim Buckley,
Hasil Adkins,
June Days,
DNA,
Lou Reed & John Cale,
Janne Schatter,
The West Coast Pop Art Experimental Band,
Red Lorry Yellow Lorry,
The Buckinghams,
Nick Cave & The Bad Seeds,
The Mighty Diamonds,
The Invisible,
Camron Feat. Memphis Bleek And Beenie Seigel,
Art Ensemble Of Chicago,
Quando Quango,
Sunsets and Hearts,
Crime,
Newcleus,
A Certain Ratio,
Maurizio,
The Electric Prunes,
Johnny Osbourne,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.