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 Zimbabwe and from Manchester.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Bologna and Milan.
I'm losing my edge to the art-school Mumbai 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 oboe sounds with much patience.
I was there when Lou Reed 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 Kevin Saunderson to the techno 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 Public Image Ltd.. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every Heavy D & The Boyz 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 an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Lonnie Liston Smith,
The Sonics,
Bad Manners,
Man Eating Sloth,
James Chance & The Contortions,
Maleditus Sound,
Peter and Kerry,
The Sound,
Tommy Roe,
Glambeats Corp.,
Brand Nubian,
The Tremeloes,
Dave Gahan,
The Angels of Light,
Skarface,
A Certain Ratio,
The Music Machine,
Nico,
The Fugs,
The Real Kids,
Bootsy Collins,
Joyce Sims,
Andrew Hill,
Yusef Lateef,
The Last Poets,
The Royal Family And The Poor,
Angry Samoans,
Dead Boys,
Simply Red,
Pulsallama,
The American Breed,
New Age Steppers,
D'Angelo,
Cybotron,
Smog,
The Peanut Butter Conspiracy,
The Men They Couldn't Hang,
Unwound,
Pantytec,
Harpers Bizarre,
Moby Grape,
Audionom,
Half Japanese,
Bush Tetras,
X-102,
EPMD,
a-ha,
Hasil Adkins,
Patti Smith,
Rakim,
Marine Girls,
Sight & Sound,
The Slits,
Joensuu 1685,
Roxy Music,
A Flock of Seagulls,
The J.B.'s,
Susan Cadogan,
Terry Callier,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.