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 Azerbaijan and from Mumbai.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Accra 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 synthesizer 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 Agent Orange to the grunge 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 8 Eyed Spy. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Gichy Dan 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Eric Dolphy,
The Mojo Men,
R.M.O.,
Parry Music,
The American Breed,
The Cosmic Jokers,
Minutemen,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Electric Light Orchestra,
Ken Boothe,
Iggy Pop,
Simply Red,
Chrome,
Pulsallama,
the Bar-Kays,
Graham Central Station,
Judy Mowatt,
Lucky Dragons,
Prince Buster,
Pylon,
Lonnie Liston Smith,
Curtis Mayfield,
Infiniti,
Dead Boys,
Janne Schatter,
LL Cool J,
Jacques Brel,
Rhythm & Sound,
The Alarm Clocks,
Patti Smith,
Avey Tare's Slasher Flicks,
The Divine Comedy,
Anthony Braxton,
Sight & Sound,
PIL,
Jeff Mills,
Television,
Matthew Halsall,
Fifty Foot Hose,
Tropical Tobacco,
Marc Almond,
48th St. Collective,
Ornette Coleman,
Gang of Four,
Oppenheimer Analysis,
Lightning Bolt,
JFA,
The Birthday Party,
Big Daddy Kane,
Amon Düül,
Röyhkä ja Rättö ja Lehtisalo,
EPMD,
Grandmaster Flash,
Arab on Radar,
The Searchers,
Hasil Adkins,
X-Ray Spex,
Schoolly D,
Nick Cave & The Bad Seeds,
K-Klass,
Lou Reed & Metallica,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.