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 Luxembourg and from Toronto.
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 1960 to 1978.
I'm losing my edge.
To all the kids in New York and Copenhagen.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Rotary Connection to the grime 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 The Five Americans. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Nick Fraelich record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Bill Near,
Johnny Osbourne,
The Detroit Cobras,
Siouxsie and the Banshees,
Pharaoh Sanders and the Fire Engines,
Nick Fraelich,
Second Layer,
Junior Murvin,
China Crisis,
The Moody Blues,
Cal Tjader,
Model 500,
Sex Pistols,
The Music Machine,
The Standells,
Babytalk,
Arthur Verocai,
Ultramagnetic MC's,
Faust,
Fort Wilson Riot,
Suburban Knight,
The Busters,
The Sisters of Mercy,
Ossler,
Drive Like Jehu,
Matthew Halsall,
DNA,
Lizzy Mercier Descloux,
Art Ensemble Of Chicago,
Fad Gadget,
Justin Hinds & The Dominoes,
Vladislav Delay,
Marine Girls,
Graham Central Station,
Todd Rundgren,
Theoretical Girls,
8 Eyed Spy,
Roy Ayers,
Liliput,
Ludus,
Josef K,
Godley & Creme,
Marmalade,
Crispian St. Peters,
Khruangbin,
Sunsets and Hearts,
Sam Rivers,
The New Christs,
Parry Music,
Carl Craig,
Suicide,
Byron Stingily,
Eve St. Jones,
Grandmaster Flash and the Furious Five,
The Divine Comedy,
Mantronix,
Peter Gordon & Love of Life Orchestra,
Oneida,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.