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 Dominican Republic and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
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 oboe 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 Roy Ayers Ubiquity to the grime kids.
I played it at the Hacienda.
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 Television Personalities. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Freddie Wadling 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 '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Pierre Henry,
Supertramp,
Sunsets and Hearts,
The Sonics,
Lafayette Afro Rock Band,
Lou Christie,
Hashim,
Jimmy McGriff,
Ten City,
Babytalk,
Max Romeo,
The Birthday Party,
Fifty Foot Hose,
Radio Birdman,
World's Most,
Vladislav Delay,
Eddi Front,
Anakelly,
Swans,
Gong,
Crispy Ambulance,
Bill Near,
Brick,
Andrew Hill,
The Standells,
Gastr Del Sol,
Cluster,
CMW,
Stockholm Monsters,
Notorious Big And Bone Thugs,
The Electric Prunes,
Jeru the Damaja,
Severed Heads,
Soul II Soul,
Silicon Teens,
Nik Kershaw,
Chris & Cosey,
Alphaville,
Gerry Rafferty,
Ohio Players,
Cal Tjader,
Boz Scaggs,
A Certain Ratio,
The Chocolate Watch Band,
Todd Terry,
Cymande,
Porter Ricks,
The Associates,
Moby Grape,
Röyhkä ja Rättö ja Lehtisalo,
Morten Harket,
Oppenheimer Analysis,
Von Mondo,
Moebius,
Mr. Review,
the Germs,
Sly & The Family Stone,
The Happenings,
The Litter, The Litter, The Litter, The Litter.
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.