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 Malta and from Accra.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Glasgow 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Lou Reed & John Cale to the disco kids.
I played it at the Astoria.
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 Aural Exciters. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Brass Construction 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Standells 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?
Half Japanese,
Amon Düül II,
This Heat,
Heavy D & The Boyz,
Khruangbin,
The Moody Blues,
Janne Schatter,
Clear Light,
Trumans Water,
Porter Ricks,
Barry Ungar,
Soft Machine,
Delta 5,
Swans,
Don Cherry,
The Gories,
Gregory Isaacs,
Bush Tetras,
Infiniti,
EPMD,
Henry Cow,
Slick Rick,
Pole,
Roy Ayers Ubiquity,
Ultra Naté,
Pharoah Sanders,
Boogie Down Productions,
The Litter,
The American Breed,
Youth Brigade,
Subhumans,
The Buckinghams,
Parry Music,
Röyhkä ja Rättö ja Lehtisalo,
Todd Rundgren,
Agitation Free,
One Last Wish,
The Standells,
The United States of America,
The Slackers,
Supertramp,
Drexciya,
Crash Course in Science,
The Associates,
Ultimate Spinach,
Moby Grape,
Traffic Nightmare,
Groovy Waters,
Newcleus,
Flamin' Groovies,
The Velvet Underground,
The Star Department,
Cecil Taylor,
Rotary Connection,
Buzzcocks,
Jerry's Kids,
Camron Feat. Jay Z And Juelz,
Deadbeat,
Aaron Thompson,
Gian Franco Pienzio,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.