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 Syria and from Manchester.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Calgary 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Sly & The Family Stone to the disco kids.
I played it at the Troubador.
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 Last Poets. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every The Last Poets record on German import.
I heard that you have a white label of every seminal disco 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Swans record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Swell Maps,
Oblivians,
Sound Behaviour,
The Happenings,
Minny Pops,
Icehouse,
Ajijia Myrayebe,
Anakelly,
New Age Steppers,
Laurel Aitken,
Mr. Review,
Cabaret Voltaire,
Scott Walker + Sunn O))),
Chrome,
Magma,
Man Eating Sloth,
Rahsaan Roland Kirk,
Motorama,
Guru Guru,
Blossom Toes,
Fat Boys,
The Star Department,
Brothers Johnson,
Public Enemy,
The Velvet Underground,
Skriet,
Avey Tare's Slasher Flicks,
The Cowsills,
Funky Four + One,
Deutsch Amerikanische Freundschaft,
Wasted Youth,
Dennis Brown,
Deakin,
Jandek,
The Kinks,
Funkadelic,
the Swans,
Hasil Adkins,
Junior Murvin,
Yaz,
Lucky Dragons,
Au Pairs,
Ronnie Foster,
Hardrive,
Soft Machine,
DeepChord presents Echospace,
Banda Bassotti,
Tim Buckley,
The Divine Comedy,
The Fuzztones,
The Tremeloes,
Robert Görl,
Ken Boothe,
Archie Shepp,
Das Ding,
Arcadia,
Lungfish,
Heavy D & The Boyz,
Bizarre Inc.,
Fear,
The Music Machine,
The United States of America,
Black Bananas,
Josef K, Josef K, Josef K, Josef K.
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.