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 Columbus.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 The Invisible to the crunk kids.
I played it at the 40 Watt.
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 Kerri Chandler. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Jacques Brel 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
John Cale,
Avey Tare's Slasher Flicks,
Mr. Review,
Harry Pussy,
Con Funk Shun,
Teenage Jesus and the Jerks,
The Techniques,
Black Pus,
Radiohead,
Severed Heads,
The Zeros,
Hot Snakes,
Thinking Fellers Union Local 282,
Aaron Thompson,
Dark Day,
Reuben Wilson,
Audionom,
Camron Feat. Memphis Bleek And Beenie Seigel,
Spandau Ballet,
Steve Hackett,
Jawbox,
Wings,
Peter Gordon & Love of Life Orchestra,
Blancmange,
Nico,
The Cure,
Traffic Nightmare,
Nation of Ulysses,
Ultra Naté,
Pulsallama,
Urselle,
Symarip,
Supertramp,
Lou Reed & John Cale,
Buzzcocks,
Eyeless In Gaza,
Suburban Knight,
Susan Cadogan,
Qualms,
Wally Richardson,
Niagra,
Silicon Teens,
Khruangbin,
Lizzy Mercier Descloux,
Cameo,
Red Lorry Yellow Lorry,
Alison Limerick,
Quadrant,
Motorama,
Michelle Simonal,
The Black Dice,
Ken Boothe,
Peter and Kerry,
EPMD,
Mandrill,
Jimmy McGriff,
The Offenders,
Joensuu 1685,
Camron Feat. Jay Z And Juelz,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.