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 Hungary and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Lyon and Lagos.
I'm losing my edge to the art-school Copenhagen 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 at the first Suicide practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Gang Starr 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 Scott Walker. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Young Rascals 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?
Stiv Bators,
Juan Atkins,
John Lydon,
The Birthday Party,
Cameo,
The Residents,
Bluetip,
Flash Fearless,
Archie Shepp,
Echo & the Bunnymen,
Jacques Brel,
Ultimate Spinach,
Bill Wells,
Major Organ And The Adding Machine,
Tom Boy,
Fela Kuti,
Nico,
8 Eyed Spy,
Unrelated Segments,
Arab on Radar,
Deadbeat,
Guru Guru,
Warsaw,
AZ,
Television,
Bang On A Can,
Animal Collective,
Pylon,
Crispian St. Peters,
Hoover,
Q and Not U,
Supertramp,
Accadde A,
Loose Ends,
Avey Tare,
Rufus Thomas,
D'Angelo,
Danielle Patucci,
Sixth Finger,
Brick,
Red Lorry Yellow Lorry,
June Days,
Das Ding,
Tommy Roe,
The Angels of Light,
The Real Kids,
Scott Walker + Sunn O))),
Sunsets and Hearts,
the Association,
Mary Jane Girls,
Ohio Players,
Essential Logic,
Darondo,
China Crisis,
the Slits,
Gil Scott-Heron & Brian Jackson,
The Dave Clark Five,
Kurtis Blow,
The Remains,
Spandau Ballet,
Nick Cave & The Bad Seeds,
Nirvana,
The Cosmic Jokers,
Pharoah Sanders,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.