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 Vietnam and from Stockholm.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Tokyo and Seoul.
I'm losing my edge to the art-school Edmonton 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 arpeggiator 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 Toni Rubio to the funk kids.
I played it at the Hacienda.
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 Angels of Light & Akron/Family. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
The Raincoats,
Susan Cadogan,
Swell Maps,
Scott Walker,
Trumans Water,
The Gladiators,
Junior Murvin,
Prince Buster,
Anakelly,
Mo-Dettes,
Faraquet,
Joensuu 1685,
Kauko Röyhkä ja Narttu,
Electric Light Orchestra,
Barrington Levy,
Black Flag,
Nas,
Andrew Hill,
The New Christs,
Make Up,
Au Pairs,
Public Enemy,
Arcadia,
The Monks,
Warren Ellis,
K-Klass,
The Red Krayola,
Visage,
The Count Five,
Arab on Radar,
The Jesus and Mary Chain,
Richard Hell and the Voidoids,
Rowland S Howard / Lydia Lunch,
Fear,
The Neon Judgement,
Bob Dylan,
The Angels of Light,
Harpers Bizarre,
Q65,
Underground Resistance,
Wolf Eyes,
Lucky Dragons,
Jeru the Damaja,
Reagan Youth,
The Slackers,
Althea and Donna,
FM Einheit,
June of 44,
X-102,
Isaac Hayes,
Joe Finger,
Don Cherry,
Deutsch Amerikanische Freundschaft,
Echo & the Bunnymen,
The Birthday Party,
Suburban Knight,
Vaughan Mason & Crew,
Tropical Tobacco,
Dr. Dre and Snoop Doggy Dog,
Bootsy Collins,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.