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 Andorra and from Mumbai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1978.
I'm losing my edge.
To all the kids in Milan and Shanghai.
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 Holger Czukay 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 Notorious Big And Bone Thugs to the jazz kids.
I played it at the Crocodile.
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 Donald Byrd. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Nick Fraelich,
Captain Beefheart & His Magic Band,
the Human League,
Metal Thangz,
the Sonics,
Rowland S Howard / Lydia Lunch,
Brothers Johnson,
New York Dolls,
T. Rex,
The Seeds,
Alphaville,
Aaron Thompson,
It's A Beautiful Day,
Selector Dub Narcotic,
Tomorrow,
Scott Walker,
Infiniti,
Boredoms,
Gabor Szabo,
Cabaret Voltaire,
B.T. Express,
Boogie Down Productions,
Donny Hathaway,
Bill Near,
Pere Ubu,
Young Marble Giants,
Rakim,
The United States of America,
The Barracudas,
Rekid,
Swell Maps,
the Germs,
Joe Finger,
Jesper Dahlbäck,
Interpol,
The Doobie Brothers,
Todd Terry,
Gang Green,
Chris & Cosey,
Symarip,
The Human League,
This Heat,
Amazonics,
Nico,
Al Stewart,
Vainqueur,
Funky Four + One,
Supertramp,
The Searchers,
The Shadows of Knight,
Television,
Los Fastidios,
Bob Dylan,
Reuben Wilson,
Audionom,
Kings Of Tomorrow,
Ralphi Rosario,
John Lydon,
Kango’s Stein Massive,
Gil Scott-Heron and Jamie xx,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.