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 Czech Republic and from Bologna.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Glasgow 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 mellotron 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 Cameo to the punk 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 Pagans. All the underground hits.
All ABC tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
The Grass Roots,
Audionom,
Brand Nubian,
Orchestral Manoeuvres in the Dark,
Pharoah Sanders,
Dead Boys,
Lizzy Mercier Descloux,
Dual Sessions,
Pole,
T.S.O.L.,
Johnny Clarke,
The Alarm Clocks,
Thee Headcoats,
Andrew Ashong & Theo Parrish,
Pagans,
Gian Franco Pienzio,
Masters at Work,
Gil Scott-Heron & Brian Jackson,
Dark Day,
Chris Corsano,
Amon Düül II,
Mars,
Bang on a Can All-Stars,
This Heat,
Chris & Cosey,
Porter Ricks,
Scott Walker + Sunn O))),
Brothers Johnson,
Schoolly D,
Gregory Isaacs,
Peter and Kerry,
Cymande,
Liliput,
Guru Guru,
Bill Near,
Youth Brigade,
Jawbox,
Black Sheep,
the Association,
Desert Stars,
PIL,
Unrelated Segments,
Moebius,
Ohio Players,
The Pretty Things,
Big Daddy Kane,
Fela Kuti,
Flipper,
Erasure,
The Searchers,
Pierre Henry,
Drexciya,
Skriet,
Thinking Fellers Union Local 282,
Grey Daturas,
Crispian St. Peters, Crispian St. Peters, Crispian St. Peters, Crispian St. Peters.
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.