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 Algeria and from Tehran.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Johannesburg.
I'm losing my edge to the art-school Lille 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 organ 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 Lizzy Mercier Descloux to the rock kids.
I played it at CBGB's.
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 Interpol. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every Minutemen record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Pete Rock & C.L. Smooth,
Albert Ayler,
Camouflage,
Arthur Verocai,
Second Layer,
Schoolly D,
Rosa Yemen,
Royal Trux,
Spandau Ballet,
Q65,
Rotary Connection,
Drive Like Jehu,
Massinfluence,
Bill Wells,
Swans,
Mars,
The Modern Lovers,
Ossler,
Young Marble Giants,
The Royal Family And The Poor,
Dennis Brown,
Sexual Harrassment,
This Heat,
Siglo XX,
Eurythmics,
Henry Cow,
DJ Style,
Radiohead,
Peter & Gordon,
Ponytail,
Rod Modell,
the Sonics,
Niagra,
Fat Boys,
Slick Rick,
Aaron Thompson,
Robert Wyatt,
Chris Corsano,
cv313,
New Order,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Angels of Light & Akron/Family,
Half Japanese,
Symarip,
Bobbi Humphrey,
Scott Walker,
U.S. Maple,
Oneida,
Public Enemy,
Minny Pops,
Zero Boys,
Intrusion,
Ohio Players,
Man Eating Sloth,
the Association,
Country Teasers,
Nas,
Basic Channel,
Curtis Mayfield,
Echospace, Echospace, Echospace, Echospace.
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.