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 Ecuador and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Bremen and Calgary.
I'm losing my edge to the art-school Madrid 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 David Bowie 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 Bob Dylan to the dance kids.
I played it at the Roxy.
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 Metal Thangz. All the underground hits.
All Unwound tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Cecil Taylor,
Pagans,
Scratch Acid,
Brick,
T.S.O.L.,
The Techniques,
A Certain Ratio,
Symarip,
Eve St. Jones,
Rakim,
Brothers Johnson,
Sad Lovers and Giants,
John Holt,
The Martian,
Black Bananas,
Suburban Knight,
Barry Ungar,
Brass Construction,
The Alarm Clocks,
Schoolly D,
Public Image Ltd.,
Darondo,
Kango’s Stein Massive,
Selector Dub Narcotic,
Radio Birdman,
Pete Rock & C.L. Smooth,
Popol Vuh,
Ornette Coleman,
Drive Like Jehu,
Tom Boy,
Ultravox,
Cal Tjader,
Pere Ubu,
Lyres,
Wire,
The Raincoats,
Neil Young & Crazy Horse,
Sonny Sharrock,
Porter Ricks,
Visionaries,LMNO, T- Love & Iriscience,
Sällskapet,
Icehouse,
Hasil Adkins,
The Golliwogs,
The Move,
the Sonics,
This Heat,
the Association,
The Five Americans,
Major Organ And The Adding Machine,
Wasted Youth,
Marine Girls,
Todd Terry,
Susan Cadogan,
K-Klass,
Lungfish,
Excepter,
R.M.O.,
Crime,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.