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 Nauru and from Bologna.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Madrid and Stockholm.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the sitar sounds with much patience.
I was there when David Bowie 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 Eli Mardock to the dance 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 The Gladiators. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Harpers Bizarre 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 '80s.
I hear you're buying a sitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines 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?
Marcia Griffiths,
Pharaoh Sanders and the Fire Engines,
Unrelated Segments,
Black Moon,
Kool Moe Dee,
Joy Division,
10cc,
Can,
The Evens,
Josef K,
The Names,
Pierre Henry,
Minny Pops,
Röyhkä ja Rättö ja Lehtisalo,
Anakelly,
The Golliwogs,
Alton Ellis,
The Sound,
Panda Bear,
Ken Boothe,
De La Soul & Jungle Brothers,
Vladislav Delay,
Mary Jane Girls,
The Doobie Brothers,
Fifty Foot Hose,
Michelle Simonal,
The Kinks,
Danielle Patucci,
Brothers Johnson,
The Red Krayola,
Yusef Lateef,
Thompson Twins,
Talk Talk,
Cameo,
The Sisters of Mercy,
Little Man,
Franke,
The Monks,
Bang on a Can All-Stars,
The Grass Roots,
Half Japanese,
Arcadia,
Maurizio,
PIL,
The Five Americans,
Liliput,
Lindisfarne,
Fela Kuti,
Spoonie Gee,
Lizzy Mercier Descloux,
Ituana,
Banda Bassotti,
Porter Ricks,
Deepchord,
Boogie Down Productions,
The Gap Band,
Eddi Front,
Bad Manners,
Major Organ And The Adding Machine,
Louis and Bebe Barron,
The Smoke, The Smoke, The Smoke, The Smoke.
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.