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 Lithuania and from Delhi.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Halifax and London.
I'm losing my edge to the art-school Mexico City 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 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 Oneida to the jazz kids.
I played it at the Astoria.
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 Mo-Dettes. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Inner City 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
Cameo,
Johnny Osbourne,
Bobby Byrd,
Throbbing Gristle,
Sound Behaviour,
The Peanut Butter Conspiracy,
Sparks,
Letta Mbulu,
Brothers Johnson,
Lebanon Hanover,
Crime,
T.S.O.L.,
Ultravox,
Theoretical Girls,
Saccharine Trust,
Art Ensemble Of Chicago,
L. Decosne,
Country Teasers,
The Monochrome Set,
Harpers Bizarre,
Kool G Rap & DJ Polo,
Yaz,
Arcadia,
Faust,
The Last Poets,
Vainqueur,
Popol Vuh,
Lonnie Liston Smith,
Danielle Patucci,
Mark Hollis,
Symarip,
The Sonics,
Banda Bassotti,
Wings,
Black Sheep,
Icehouse,
The Cramps,
The Saints,
Nils Olav,
Guru Guru,
Echospace,
Mission of Burma,
Oppenheimer Analysis,
Bang On A Can,
Sun Ra Arkestra,
DNA,
Groovy Waters,
The Jesus and Mary Chain,
The Durutti Column,
Lyres,
The Beau Brummels,
Minny Pops,
Flamin' Groovies,
Cheater Slicks,
David Axelrod,
Sex Pistols,
Niagra,
Robert Hood,
De La Soul & Jungle Brothers,
Piero Umiliani,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.