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 Angola and from Hong Kong.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
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 1971 at the first Big Star practice in a loft in Memphis.
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 Oppenheimer Analysis to the crunk 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 Standells. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Stetsasonic 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dead C,
Flash Fearless,
Deakin,
Banda Bassotti,
Massinfluence,
Todd Rundgren,
Mark Hollis,
New Age Steppers,
Livin' Joy,
The United States of America,
Lou Reed & Metallica,
Shoche,
Grandmaster Flash and the Furious Five,
Isaac Hayes,
Man Parrish,
Sticky Fingaz feat. Raekwon,
Bang On A Can,
Simply Red,
Adolescents,
Derrick May,
Angry Samoans,
Fad Gadget,
Fort Wilson Riot,
ABC,
Wasted Youth,
Sly & The Family Stone,
Robert Wyatt,
Joyce Sims,
The Index,
Sällskapet,
Bootsy Collins,
The Sisters of Mercy,
Nik Kershaw,
Blancmange,
Desert Stars,
Wighnomy Brothers & Robag Wruhme,
The Trojans,
Röyhkä ja Rättö ja Lehtisalo,
Angels of Light & Akron/Family,
Motorama,
Mantronix,
Goldenarms,
Stereo Dub,
Terry Callier,
Bobby Hutcherson,
Bootsy's Rubber Band,
Kauko Röyhkä ja Narttu,
Barclay James Harvest,
Radiopuhelimet,
Davy DMX,
Tom Boy,
Rowland S Howard / Lydia Lunch,
Rakim,
Oppenheimer Analysis,
Bob Dylan,
Lonnie Liston Smith,
Deepchord,
Michelle Simonal,
It's A Beautiful Day,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.