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 South Africa and from Shanghai.
But I was there.
I was there in .
I was there at the first Suicide 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 1960 to 1976.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school Seoul 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Boogie Down Productions to the disco 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 The Smiths. All the underground hits.
All EPMD tracks. I heard you have a vinyl of every Reuben Wilson 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a U.S. Maple record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Grauzone,
Make Up,
Sound Behaviour,
Sandy B,
Stiv Bators,
Fad Gadget,
Country Teasers,
Gary Puckett & The Union Gap,
Arcadia,
Stereo Dub,
Lizzy Mercier Descloux,
The Wake,
X-Ray Spex,
Hasil Adkins,
Boogie Down Productions,
Joensuu 1685,
The Saints,
The Motions,
Icehouse,
Fort Wilson Riot,
Youth Brigade,
Crispy Ambulance,
Agitation Free,
Peter and Kerry,
The New Christs,
Babytalk,
Sam Rivers,
Unwound,
Cal Tjader,
John Cale,
Don Cherry,
Steve Hackett,
Gang Green,
Alton Ellis,
Johnny Osbourne,
Man Parrish,
Supertramp,
Piero Umiliani,
Ajijia Myrayebe,
The Selecter,
Jeff Lynne,
Das Ding,
the Association,
Terrestrial Tones,
Newcleus,
The Black Dice,
Marvin Gaye,
Notorious Big And Bone Thugs,
Pharaoh Sanders and the Fire Engines,
Laurel Aitken,
Susan Cadogan,
Nico,
Groovy Waters,
Matthew Halsall,
The Move,
Juan Atkins,
Minutemen,
Heaven 17,
Echospace,
The Pop Group,
Röyhkä ja Rättö ja Lehtisalo,
Siglo XX,
June of 44,
Pole, Pole, Pole, Pole.
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.