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 Ghana and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Manila and Accra.
I'm losing my edge to the art-school Beijing 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 clarinet sounds with much patience.
I was there when David Bowie 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 Pharoah Sanders to the grime 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 Little Man. All the underground hits.
All The Residents tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal electroclash 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Nick Fraelich,
Gichy Dan,
Yusef Lateef,
Kool G Rap & DJ Polo,
John Foxx,
Shuggie Otis,
Bob Dylan,
OOIOO,
Kurtis Blow,
T. Rex,
Throbbing Gristle,
The Sisters of Mercy,
Jerry Gold Smith,
Big Daddy Kane,
Blake Baxter,
Circle Jerks,
Maleditus Sound,
Fatback Band,
Stetsasonic,
Kauko Röyhkä ja Narttu,
Dorothy Ashby,
Absolute Body Control,
Rakim,
Ludus,
Eurythmics,
Gang Gang Dance,
Adolescents,
Matthew Halsall,
Flipper,
Piero Umiliani,
Warren Ellis,
Blancmange,
Deutsch Amerikanische Freundschaft,
Ultimate Spinach,
Byron Stingily,
The Mighty Diamonds,
The Alarm Clocks,
The Saints,
Oblivians,
Andrew Ashong & Theo Parrish,
Sam Rivers,
48th St. Collective,
Kerrie Biddell,
Stereo Dub,
Bobbi Humphrey,
EPMD,
The Skatalites,
Röyhkä ja Rättö ja Lehtisalo,
Traffic Nightmare,
The Leaves,
John Holt,
Bronski Beat,
The Martian,
Gian Franco Pienzio,
The Blues Magoos,
Nico,
The Electric Prunes,
World's Most,
Fad Gadget,
Minny Pops,
The Seeds,
Qualms, Qualms, Qualms, Qualms.
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.