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 Liechtenstein and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Manila and Portland.
I'm losing my edge to the art-school Mumbai 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 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 the Slits to the rap kids.
I played it at the Crocodile.
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 Kool Moe Dee. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Fifty Foot Hose,
Amon Düül II,
Black Bananas,
Jandek,
Ralphi Rosario,
Soft Cell,
Ajijia Myrayebe,
AZ,
Zero Boys,
Leonard Cohen,
OOIOO,
Todd Rundgren,
The Beau Brummels,
Idris Muhammad,
Sam Rivers,
Main Source,
Ronan,
Shoche,
Ronnie Foster,
Bobby Womack,
The Pretty Things,
The Human League,
Notorious BIG live in Amsterdam,
Tubeway Army,
The Barracudas,
Banda Bassotti,
Arab on Radar,
Wire,
Laurel Aitken,
Ornette Coleman,
Arthur Verocai,
Trumans Water,
Procol Harum,
Bobby Hutcherson,
June Days,
The Flesh Eaters,
Pierre Henry,
Lou Christie,
Depeche Mode,
Rosa Yemen,
Stereo Dub,
Ituana,
Prince Buster,
The Durutti Column,
A Flock of Seagulls,
Whodini,
Minnie Riperton,
Roxy Music,
Electric Light Orchestra,
The Zeros,
T.S.O.L.,
Jimmy McGriff,
the Germs,
Fear,
Easy Going,
The Offenders,
Aaron Thompson,
Quando Quango,
The Litter,
Popol Vuh,
Von Mondo,
Warren Ellis,
Oblivians, Oblivians, Oblivians, Oblivians.
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.