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 Sudan and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Halifax and Madrid.
I'm losing my edge to the art-school Cairo 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 güiro 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 Man Eating Sloth to the rock kids.
I played it at the Troubador.
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 Matthew Halsall. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every John Lydon record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Skarface,
Oneida,
Ajijia Myrayebe,
Johnny Clarke,
The Cosmic Jokers,
The Count Five,
The Sisters of Mercy,
Soft Machine,
MC5,
Accadde A,
Wolf Eyes,
Dead Boys,
The Gories,
The Black Dice,
Unwound,
Essential Logic,
Yellowson,
Bang On A Can,
Andrew Ashong & Theo Parrish,
Derrick Morgan,
Soulsonic Force,
Bauhaus,
Excepter,
Bad Manners,
Rahsaan Roland Kirk,
Sight & Sound,
John Foxx,
The Fall,
Talk Talk,
Zero Boys,
Wally Richardson,
Spoonie Gee,
Crooked Eye,
L. Decosne,
Art Ensemble Of Chicago,
The American Breed,
Quando Quango,
Agitation Free,
Deadbeat,
Fort Wilson Riot,
Thinking Fellers Union Local 282,
Eric Dolphy,
Siouxsie and the Banshees,
Marmalade,
48th St. Collective,
The Move,
Roger Hodgson,
The Techniques,
Interpol,
Jacob Miller,
Gang of Four,
Minor Threat,
The Star Department,
Black Flag,
Pantaleimon,
Negative Approach,
Roy Ayers Ubiquity,
The Index,
Icehouse,
Arcadia,
Avey Tare & Kría Brekkan,
Gang Green, Gang Green, Gang Green, Gang Green.
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.