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 Armenia and from Paris.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1972.
I'm losing my edge.
To all the kids in Cairo and Halifax.
I'm losing my edge to the art-school London 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Saccharine Trust to the rap kids.
I played it at Cafe Wha.
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 Cecil Taylor. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Gong 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ralphi Rosario record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Robert Wyatt,
Das Ding,
Deakin,
Lou Reed & Metallica,
James White and The Blacks,
Peter and Kerry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kenny Larkin,
The Wake,
Ash Ra Tempel,
a-ha,
Suburban Knight,
Neu!,
Orchestral Manoeuvres in the Dark,
Louis and Bebe Barron,
T. Rex,
Selector Dub Narcotic,
Ken Boothe,
Harmonia,
Dennis Brown,
Lonnie Liston Smith,
The Blackbyrds,
Marc Romboy vs. Booka Shade,
the Bar-Kays,
The Fuzztones,
Colin Newman,
Captain Beefheart & His Magic Band,
Steve Hackett,
Darondo,
Country Joe & The Fish,
Goldenarms,
The Knickerbockers,
Pussy Galore,
Terrestrial Tones,
Bronski Beat,
The Smoke,
Curtis Mayfield,
Teenage Jesus and the Jerks,
Pantaleimon,
Nico,
The Motions,
The Moleskins,
Juan Atkins,
Tears for Fears,
The Seeds,
Wire,
Minutemen,
Bobby Womack,
Bootsy Collins,
The Walker Brothers,
Nation of Ulysses,
X-Ray Spex,
Dual Sessions,
Symarip,
The Cure,
Gregory Isaacs,
David Bowie,
Sparks,
A Certain Ratio,
Ultramagnetic MC's,
Bizarre Inc.,
Gong, Gong, Gong, Gong.
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.