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 Tanzania and from Cairo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school New York 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 marimba sounds with much patience.
I was there when Donald Fagen 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 ABBA to the electroclash 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 A Flock of Seagulls. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
These Immortal Souls,
Henry Cow,
Minutemen,
Bauhaus,
Minny Pops,
Adolescents,
James White and The Blacks,
Andrew Hill,
Sonny Sharrock,
Captain Beefheart & His Magic Band,
Aural Exciters,
Kenny Larkin,
Scrapy,
Thinking Fellers Union Local 282,
Warsaw,
Youth Brigade,
Lizzy Mercier Descloux,
The Sisters of Mercy,
Hardrive,
Cheater Slicks,
Rosa Yemen,
Buzzcocks,
Boz Scaggs,
Kango’s Stein Massive,
Sixth Finger,
Das Ding,
The Fuzztones,
Kaleidoscope,
The Modern Lovers,
Sexual Harrassment,
Connie Case,
Bizarre Inc.,
Pantytec,
Althea and Donna,
Todd Rundgren,
Bronski Beat,
Orchestral Manoeuvres in the Dark,
The Saints,
Subhumans,
Section 25,
Moby Grape,
The Busters,
Big Daddy Kane,
Letta Mbulu,
Ituana,
David Bowie,
The American Breed,
Bootsy's Rubber Band,
Neil Young,
The Music Machine,
Silicon Teens,
Eric Copeland,
Ohio Players,
Grandmaster Flash and the Furious Five,
Throbbing Gristle,
Duran Duran,
Roy Ayers Ubiquity,
Byron Stingily,
Zero Boys,
Gang Starr,
The Monochrome Set,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.