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 Belize and from Mexico City.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron 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 Television Personalities to the grunge 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 Shuggie Otis. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal funk 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 Sarah Menescal record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Red Lorry Yellow Lorry,
Spoonie Gee,
Hardrive,
Maleditus Sound,
Bobbi Humphrey,
The Neon Judgement,
Maurizio,
Gastr Del Sol,
Judy Mowatt,
Boredoms,
Siglo XX,
The Stooges,
Theoretical Girls,
A Certain Ratio,
Wolf Eyes,
World's Most,
Minor Threat,
Little Man,
The Standells,
Rowland S Howard / Lydia Lunch,
Max Romeo,
Masters at Work,
In Retrospect,
Michelle Simonal,
Index,
Hoover,
Heaven 17,
The Names,
Visionaries,LMNO, T- Love & Iriscience,
Anakelly,
Throbbing Gristle,
Stockholm Monsters,
Motorama,
Das Ding,
Alison Limerick,
Tubeway Army,
Desert Stars,
Arcadia,
The Busters,
Camberwell Now,
Althea and Donna,
Neu!,
Qualms,
New Age Steppers,
Aural Exciters,
Rotary Connection,
Black Pus,
Manfred Mann's Earth Band,
Marc Romboy vs. Booka Shade,
La Düsseldorf,
Silicon Teens,
Bobby Byrd,
Avey Tare & Kría Brekkan,
Sarah Menescal,
Dorothy Ashby,
The Happenings,
The Walker Brothers,
Jesper Dahlback,
Rekid,
DeepChord presents Echospace,
Slave,
Delon & Dalcan,
PIL, PIL, PIL, PIL.
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.