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 Kosovo and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1971.
I'm losing my edge.
To all the kids in London and Taipei.
I'm losing my edge to the art-school Toronto 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 The Durutti Column to the grime 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 New York Dolls. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every James White and The Blacks 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 a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. 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?
James White and The Blacks,
Gil Scott-Heron & Brian Jackson,
Larry & the Blue Notes,
The Toasters,
Rhythm & Sound,
Easy Going,
Fat Boys,
Terry Callier,
Pharoah Sanders,
Bush Tetras,
Moss Icon,
Robert Wyatt,
Los Fastidios,
Chrome,
Electric Prunes,
The Gories,
Funky Four + One,
Dark Day,
Porter Ricks,
Monks,
Black Sheep,
Minnie Riperton,
The Moody Blues,
The Slits,
Adolescents,
Nik Kershaw,
Beasts of Bourbon,
Amon Düül,
Motorama,
Crime,
Morten Harket,
H. Thieme,
The Dirtbombs,
Dave Gahan,
Scrapy,
The Move,
Dual Sessions,
Piero Umiliani,
Yellowson,
Jeff Lynne,
The Last Poets,
Deadbeat,
Eli Mardock,
Rahsaan Roland Kirk,
Hasil Adkins,
John Holt,
Skaos,
Stetsasonic,
Frankie Knuckles,
A Certain Ratio,
Brass Construction,
Lucky Dragons,
Brothers Johnson,
The Knickerbockers,
Mr. Review,
Negative Approach,
Fort Wilson Riot,
Chris & Cosey,
Make Up,
Siglo XX,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.