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 Cyprus and from Paris.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Beijing and Paris.
I'm losing my edge to the art-school Taipei 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 chamberlin 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 Soul Sonic Force to the crunk 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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Be Bop Deluxe,
Anthony Braxton,
The Gap Band,
Traffic Nightmare,
Public Enemy,
Sparks,
Eric Dolphy,
Barrington Levy,
Visage,
Slave,
Shuggie Otis,
Maurizio,
Throbbing Gristle,
T.S.O.L.,
Bob Dylan,
Gang Green,
Deadbeat,
Black Moon,
Swans,
The Shadows of Knight,
Major Organ And The Adding Machine,
Yellowson,
Gang of Four,
8 Eyed Spy,
The Fall,
Alison Limerick,
Wasted Youth,
Gil Scott Heron,
The Walker Brothers,
Qualms,
MDC,
Soft Cell,
Boredoms,
Bobby Sherman,
Country Joe & The Fish,
Röyhkä ja Rättö ja Lehtisalo,
Sun Ra,
Carl Craig,
Oneida,
Archie Shepp,
Joyce Sims,
Kerri Chandler,
Pylon,
Gong,
Subhumans,
Max Romeo,
The Slits,
Theoretical Girls,
Lizzy Mercier Descloux,
Liaisons Dangereuses,
The Victims,
The Real Kids,
Accadde A,
Vladislav Delay,
Cluster,
David Bowie,
Captain Beefheart & His Magic Band,
Youth Brigade,
Siglo XX,
Sonic Youth,
The Wake, The Wake, The Wake, The Wake.
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.