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 Bulgaria and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Milan and Toronto.
I'm losing my edge to the art-school Shanghai 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Essential Logic to the techno kids.
I played it at the Spitz.
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 the Association. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Robert Wyatt 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Ajijia Myrayebe,
Y Pants,
Al Stewart,
The Move,
Pantytec,
The Zeros,
Scratch Acid,
Sixth Finger,
T. Rex,
The Barracudas,
Red Lorry Yellow Lorry,
Darondo,
Infiniti,
Heavy D & The Boyz,
The J.B.'s,
Public Image Ltd.,
Bill Wells,
Anthony Braxton,
Half Japanese,
Joe Finger,
The Durutti Column,
Erykah Badu,
Wally Richardson,
Curtis Mayfield,
Joy Division,
The Tremeloes,
Notorious Big And Bone Thugs,
The Gories,
The Buckinghams,
Essential Logic,
The Techniques,
Connie Case,
Selector Dub Narcotic,
Barbara Tucker,
Flash Fearless,
The Motions,
Organ,
John Cale,
Wasted Youth,
Tubeway Army,
Model 500,
Mandrill,
Mo-Dettes,
Vainqueur,
Matthew Halsall,
kango's stein massive,
Reagan Youth,
Frankie Knuckles,
Soulsonic Force,
Ronnie Foster,
Lakeside,
Khruangbin,
Marshall Jefferson,
Sonic Youth,
Jerry Gold Smith,
Joe Smooth,
Jerry's Kids,
Fort Wilson Riot,
Kerrie Biddell,
L. Decosne,
Arab on Radar,
Bluetip,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.