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 Equatorial Guinea and from Houston.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Philadelphia 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 Selda practice in a loft in Istanbul.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Quadrant to the grime kids.
I played it at Trash.
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 Procol Harum. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler 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?
Henry Cow,
Agent Orange,
Jandek,
The Neon Judgement,
Oppenheimer Analysis,
Eurythmics,
Ultimate Spinach,
Susan Cadogan,
Scratch Acid,
Jesper Dahlbäck,
Cal Tjader,
Ronnie Foster,
Eli Mardock,
The Golliwogs,
Boredoms,
Kauko Röyhkä ja Narttu,
Be Bop Deluxe,
The Remains,
Lee Hazlewood,
Tim Buckley,
Kurtis Blow,
10cc,
John Foxx,
Blancmange,
Ultramagnetic MC's,
Goldenarms,
H. Thieme,
Camberwell Now,
A Certain Ratio,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Can,
Mary Jane Girls,
The Sonics,
Liaisons Dangereuses,
Unrelated Segments,
Kool Moe Dee,
The Monochrome Set,
Electric Light Orchestra,
Rhythim Is Rhythim,
Soulsonic Force,
World's Most,
Reagan Youth,
Young Marble Giants,
The Gap Band,
Section 25,
OOIOO,
Neu!,
Gerry Rafferty,
Cybotron,
The Skatalites,
Public Image Ltd.,
the Slits,
Half Japanese,
Altered Images,
DeepChord presents Echospace,
Newcleus,
UT,
Glambeats Corp.,
Erykah Badu,
Dark Day,
Robert Hood,
Judy Mowatt,
David McCallum,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.