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 Malaysia and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Paris and Seoul.
I'm losing my edge to the art-school Lyon 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 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 Ituana to the jazz kids.
I played it at CBGB's.
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 Magazine. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Newcleus record on German import.
I heard that you have a white label of every seminal dance 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 arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
It's A Beautiful Day,
Wasted Youth,
Liliput,
Be Bop Deluxe,
Morten Harket,
The Cure,
Idris Muhammad,
The Index,
Roy Ayers Ubiquity,
Crime,
Richard Hell and the Voidoids,
Zero Boys,
The Fire Engines,
The Zeros,
Cybotron,
The Doors,
Los Fastidios,
The Move,
Drexciya,
Archie Shepp,
Laurel Aitken,
Sugar Minott,
Glambeats Corp.,
Marshall Jefferson,
Erasure,
Yazoo,
Kango’s Stein Massive,
Pulsallama,
Popol Vuh,
The Mummies,
Funkadelic,
Jerry Gold Smith,
Ralphi Rosario,
Crooked Eye,
T.S.O.L.,
U.S. Maple,
Section 25,
Man Parrish,
World's Most,
Eddi Front,
Newcleus,
Organ,
Lightning Bolt,
The Monochrome Set,
E-Dancer,
The Golliwogs,
ABC,
Toni Rubio,
Robert Wyatt,
Harmonia,
Yusef Lateef,
The United States of America,
Alice Coltrane,
Barry Ungar,
Robert Hood,
Manfred Mann's Earth Band,
Circle Jerks,
Lizzy Mercier Descloux,
The Misunderstood,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.