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 Belgium and from London.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the 808 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 Suburban Knight to the grunge kids.
I played it at CBGB's.
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 Interpol. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
The Mighty Diamonds,
Bang on a Can All-Stars,
EPMD,
Kaleidoscope,
Youth Brigade,
Grey Daturas,
The Toasters,
The Birthday Party,
Suicide,
Godley & Creme,
Bob Dylan,
Y Pants,
Severed Heads,
The Velvet Underground,
Hardrive,
The Trojans,
Bootsy Collins,
Vladislav Delay,
Joe Finger,
Charles Mingus,
Tommy Roe,
Gabor Szabo,
Carl Craig,
Anakelly,
The Tremeloes,
Mantronix,
Japan,
Soft Machine,
Pantytec,
Selector Dub Narcotic,
Aloha Tigers,
Big Daddy Kane,
Art Ensemble Of Chicago,
The Grass Roots,
MDC,
Panda Bear,
Rowland S Howard / Lydia Lunch,
Bang On A Can,
Andrew Ashong & Theo Parrish,
The Selecter,
Glambeats Corp.,
Graham Central Station,
Maleditus Sound,
Boredoms,
The Move,
Simply Red,
Loose Ends,
Absolute Body Control,
The Zeros,
Gastr Del Sol,
Oppenheimer Analysis,
Unrelated Segments,
Lungfish,
Gang Gang Dance,
Tim Buckley,
Lakeside,
Country Teasers,
Nils Olav,
The Men They Couldn't Hang,
Eurythmics,
Rahsaan Roland Kirk,
Jeru the Damaja,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.