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 Moldova and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Cairo.
I'm losing my edge to the art-school Tehran 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Deadbeat to the disco 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 Buzzcocks. All the underground hits.
All Mandrill tracks. I heard you have a vinyl of every Crispy Ambulance record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
the Association,
K-Klass,
Metal Thangz,
Desert Stars,
Marine Girls,
Flash Fearless,
Gabor Szabo,
The Smoke,
Siouxsie and the Banshees,
Crash Course in Science,
DeepChord presents Echospace,
Soft Cell,
Mark Hollis,
Television Personalities,
Eurythmics,
AZ,
Blancmange,
the Sonics,
Thinking Fellers Union Local 282,
Dorothy Ashby,
Johnny Osbourne,
Juan Atkins,
The Monochrome Set,
Tomorrow,
Talk Talk,
The Invisible,
Little Man,
X-101,
Lou Reed & Metallica,
Stetsasonic,
June of 44,
John Lydon,
Easy Going,
Circle Jerks,
The Dead C,
Hasil Adkins,
Khruangbin,
Rites of Spring,
New Age Steppers,
Main Source,
Bang On A Can,
Gil Scott-Heron and Jamie xx,
Roy Ayers Ubiquity,
Scientists,
Alton Ellis,
Grauzone,
The Gladiators,
La Düsseldorf,
Kool G Rap & DJ Polo,
Pete Rock & C.L. Smooth,
Black Moon,
The Real Kids,
H. Thieme,
R.M.O.,
Alison Limerick,
Fatback Band,
The Count Five,
Dark Day,
Robert Wyatt,
Blossom Toes,
Grandmaster Flash,
Grandmaster Flash and the Furious Five,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.