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 Colombia and from Taipei.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Paris 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Rapeman to the funk kids.
I played it at Trash.
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 Minutemen. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Y Pants 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Ornette Coleman,
Terrestrial Tones,
Lower 48,
Lee Hazlewood,
Minutemen,
Jeff Mills,
Cecil Taylor,
Boredoms,
Kerri Chandler,
Grandmaster Flash,
Swans,
Sam Rivers,
Brothers Johnson,
the Bar-Kays,
Roy Ayers,
Isaac Hayes,
Thompson Twins,
Desert Stars,
Grey Daturas,
Peter & Gordon,
Black Bananas,
Pulsallama,
The Seeds,
Neil Young,
Maleditus Sound,
Slick Rick,
E-Dancer,
Sexual Harrassment,
Amon Düül II,
David McCallum,
Major Organ And The Adding Machine,
DJ Sneak,
Laurel Aitken,
Amazonics,
The Techniques,
Pharaoh Sanders and the Fire Engines,
Ultramagnetic MC's,
Freddie Wadling,
Orchestral Manoeuvres in the Dark,
DNA,
Echospace,
Intrusion,
The Monks,
Todd Rundgren,
The Music Machine,
Kings Of Tomorrow,
Y Pants,
Howard Jones,
X-101,
Larry & the Blue Notes,
Sex Pistols,
H. Thieme,
Masters at Work,
Jacob Miller,
Blake Baxter,
Brass Construction,
The Last Poets,
The Skatalites,
Jeru the Damaja,
Ludus,
Cal Tjader,
Lyres,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.