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 Sierra Leone and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Salvador and Manchester.
I'm losing my edge to the art-school Spokane 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 oboe sounds with much patience.
I was there when Lou Reed 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 Avey Tare & Kría Brekkan to the electroclash 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 The J.B.'s. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Das Ding,
Skriet,
Pierre Henry,
Pylon,
Aural Exciters,
MC5,
Bizarre Inc.,
Rites of Spring,
Camberwell Now,
Kevin Saunderson,
Sad Lovers and Giants,
Gil Scott Heron,
Bobby Byrd,
Angry Samoans,
Marc Almond,
Kool G Rap & DJ Polo,
The Cramps,
Roxette,
Albert Ayler,
Freddie Wadling,
Isaac Hayes,
The Pop Group,
Robert Hood,
Richard Hell and the Voidoids,
The Names,
Minnie Riperton,
Television Personalities,
Alice Coltrane,
Robert Wyatt,
Frankie Knuckles,
Popol Vuh,
Deakin,
Aloha Tigers,
Jandek,
The Barracudas,
Matthew Bourne,
James White and The Blacks,
OOIOO,
Los Fastidios,
Ralphi Rosario,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gong,
Whodini,
Dead Boys,
David Axelrod,
Hoover,
Sandy B,
Thee Headcoats,
Jeru the Damaja,
Monolake,
Ash Ra Tempel,
Ultramagnetic MC's,
Michelle Simonal,
The Real Kids,
The Star Department,
Lou Christie,
Marine Girls,
DJ Sneak,
Al Stewart,
Underground Resistance,
MDC, MDC, MDC, MDC.
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.