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 Botswana and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1977.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Calgary 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 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 Lou Reed & Metallica to the grunge 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 Michelle Simonal. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Rapeman 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Rod Modell,
Albert Ayler,
Loose Ends,
The Selecter,
Bauhaus,
Kayak,
MC5,
cv313,
the Soft Cell,
Trumans Water,
Marc Almond,
A Flock of Seagulls,
Jimmy McGriff,
The American Breed,
Warren Ellis,
Ice-T,
James White and The Blacks,
Bobby Sherman,
The Mighty Diamonds,
Unwound,
The Grass Roots,
Man Eating Sloth,
Scrapy,
Circle Jerks,
Country Joe & The Fish,
Banda Bassotti,
Nick Fraelich,
Motorama,
Lower 48,
Mary Jane Girls,
Infiniti,
Masters at Work,
Gregory Isaacs,
Lafayette Afro Rock Band,
Roxy Music,
Porter Ricks,
Siouxsie and the Banshees,
Glambeats Corp.,
Janne Schatter,
Average White Band,
FM Einheit,
The Velvet Underground,
Surgeon,
Sad Lovers and Giants,
Teenage Jesus and the Jerks,
Bobby Hutcherson,
Wolf Eyes,
D'Angelo,
Prince Buster,
Liliput,
Little Man,
ABC,
Minnie Riperton,
Johnny Osbourne,
Be Bop Deluxe,
Fort Wilson Riot,
The Skatalites,
Sarah Menescal,
Wasted Youth,
Eurythmics,
Suburban Knight,
the Swans,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.