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 Denmark and from Houston.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Lille 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 arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 L. Decosne to the electroclash kids.
I played it at the Spitz.
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 Tremeloes. All the underground hits.
All Tom Boy tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
Black Bananas,
The Fuzztones,
EPMD,
Ultravox,
Byron Stingily,
The Music Machine,
Khruangbin,
Inner City,
Marine Girls,
Strawberry Alarm Clock,
Gil Scott-Heron and Jamie xx,
Crooked Eye,
Second Layer,
Gong,
Anthony Braxton,
Flipper,
Lindisfarne,
The Standells,
The Velvet Underground,
Howard Jones,
Roy Ayers Ubiquity,
Sight & Sound,
Kerri Chandler,
John Lydon,
Rod Modell,
Cal Tjader,
Jerry Gold Smith,
Motorama,
Goldenarms,
Pulsallama,
Infiniti,
D'Angelo,
Easy Going,
The Durutti Column,
Soulsonic Force,
Gang Green,
Clear Light,
Ponytail,
Joensuu 1685,
Eric B and Rakim,
Bush Tetras,
Tim Buckley,
Quando Quango,
the Germs,
Average White Band,
Radiohead,
Pantaleimon,
Charles Mingus,
James Chance & The Contortions,
Blancmange,
The Litter,
Agent Orange,
Pharaoh Sanders and the Fire Engines,
Juan Atkins,
L. Decosne,
Minor Threat,
Gichy Dan,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.