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 Venezuela and from Mumbai.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Bremen and Calgary.
I'm losing my edge to the art-school Lyon 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet sounds with much patience.
I was there when Donald Fagen 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 Liliput to the dance kids.
I played it at CBGB's.
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 Yazoo. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Kerrie Biddell record on German import.
I heard that you have a white label of every seminal grime 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 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Visage,
Babytalk,
DJ Style,
Brass Construction,
Kango’s Stein Massive,
Richard Hell and the Voidoids,
Circle Jerks,
A Flock of Seagulls,
The Sound,
Susan Cadogan,
Amon Düül,
London Community Gospel Choir,
the Fania All-Stars,
In Retrospect,
Boogie Down Productions,
Cecil Taylor,
Niagra,
The Busters,
Mandrill,
Roy Ayers Ubiquity,
Fat Boys,
Nico,
Television,
Kauko Röyhkä ja Narttu,
Soft Cell,
Peter Gordon & Love of Life Orchestra,
Joey Negro,
the Slits,
The Invisible,
Wire,
Rod Modell,
Fifty Foot Hose,
The Monochrome Set,
Yusef Lateef,
Infiniti,
Lucky Dragons,
The Dead C,
Ultimate Spinach,
Minutemen,
Albert Ayler,
The Cure,
Funky Four + One,
Ornette Coleman,
Teenage Jesus and the Jerks,
Index,
Max Romeo,
Con Funk Shun,
8 Eyed Spy,
Marvin Gaye,
David McCallum,
Symarip,
Country Joe & The Fish,
Black Bananas,
John Coltrane,
L. Decosne,
The Red Krayola,
The Human League,
The West Coast Pop Art Experimental Band,
Matthew Bourne,
The Fuzztones,
Half Japanese,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.