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 Mozambique and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Delhi and Woodstock.
I'm losing my edge to the art-school Hong Kong 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 sitar sounds with much patience.
I was there when Lou Reed 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 Don Cherry to the grunge 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 Black Flag. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Erykah Badu record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mojo Men,
Mars,
Icehouse,
The Victims,
Half Japanese,
The West Coast Pop Art Experimental Band,
Ronan,
The Cosmic Jokers,
Gichy Dan,
The Birthday Party,
The Mighty Diamonds,
Nico,
Gil Scott Heron,
Arthur Verocai,
DJ Style,
Buzzcocks,
These Immortal Souls,
David McCallum,
Joey Negro,
The Invisible,
Ultravox,
Stockholm Monsters,
The Cramps,
Franke,
Radiopuhelimet,
The Evens,
Dead Boys,
the Bar-Kays,
Matthew Halsall,
the Slits,
Lou Christie,
DJ Sneak,
Jerry Gold Smith,
Rhythm & Sound,
Visage,
Liliput,
The Smiths,
Soulsonic Force,
Livin' Joy,
Grandmaster Flash and the Furious Five,
Vaughan Mason & Crew,
Scott Walker,
The Litter,
Johnny Osbourne,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Severed Heads,
The Gladiators,
John Coltrane,
Shoche,
Minny Pops,
Cluster,
Bill Wells,
Brick,
Soul II Soul,
Marc Almond,
The United States of America,
Electric Prunes,
One Last Wish,
Mandrill,
Lyres,
Boogie Down Productions,
Warsaw, Warsaw, Warsaw, Warsaw.
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.