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 Turkmenistan and from Lille.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1975.
I'm losing my edge.
To all the kids in Paris and Beijing.
I'm losing my edge to the art-school Philadelphia 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 rhodes 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 Amon Düül II to the crunk kids.
I played it at the Hacienda.
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 Freddie Wadling. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Sexual Harrassment record on German import.
I heard that you have a white label of every seminal jazz 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 oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Oblivians,
Gang of Four,
Anthony Braxton,
Albert Ayler,
Sexual Harrassment,
Terrestrial Tones,
Fort Wilson Riot,
Masters at Work,
The West Coast Pop Art Experimental Band,
Soul II Soul,
Visionaries,LMNO, T- Love & Iriscience,
Ronan,
Technova,
Richard Hell and the Voidoids,
Bill Near,
Hashim,
The Cramps,
The Kinks,
Jerry's Kids,
Von Mondo,
Franke,
a-ha,
The Blackbyrds,
The Velvet Underground,
Dead Boys,
Avey Tare's Slasher Flicks,
Section 25,
Agent Orange,
Johnny Osbourne,
Oneida,
Strawberry Alarm Clock,
The Misunderstood,
Crash Course in Science,
Janne Schatter,
The Divine Comedy,
Dave Gahan,
David McCallum,
Charles Mingus,
Inner City,
Half Japanese,
Kerri Chandler,
Duran Duran,
Camron Feat. Memphis Bleek And Beenie Seigel,
Smog,
New Order,
Zapp,
Panda Bear,
Sly & The Family Stone,
Jawbox,
The Blues Magoos,
James White and The Blacks,
Sad Lovers and Giants,
Gabor Szabo,
Roxy Music,
Faust,
Eve St. Jones,
This Heat,
Fluxion,
The Seeds, The Seeds, The Seeds, The Seeds.
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.