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 Nigeria and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1974.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Columbus 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 spring reverb 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 Laurel Aitken to the grunge kids.
I played it at the Troubador.
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 Arab on Radar. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every The Dirtbombs 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Jeff Mills,
The Cramps,
The Index,
Mary Jane Girls,
The Misunderstood,
Can,
Bobby Sherman,
Sly & The Family Stone,
Art Ensemble Of Chicago,
Loose Ends,
Archie Shepp,
The Techniques,
Hashim,
The Mighty Diamonds,
Fort Wilson Riot,
The Gories,
Pere Ubu,
John Foxx,
Captain Beefheart & His Magic Band,
Sarah Menescal,
Gil Scott-Heron and Jamie xx,
the Soft Cell,
The Toasters,
Brick,
Pole,
Average White Band,
Roxette,
Scott Walker,
Slick Rick,
Suburban Knight,
Deutsch Amerikanische Freundschaft,
Barclay James Harvest,
Piero Umiliani,
The Cowsills,
Lebanon Hanover,
Radiopuhelimet,
The Shadows of Knight,
Saccharine Trust,
Massinfluence,
These Immortal Souls,
JFA,
Yaz,
Joensuu 1685,
The Five Americans,
10cc,
The Pretty Things,
Panda Bear,
Ponytail,
Rowland S Howard / Lydia Lunch,
Zapp,
Glenn Branca,
Charles Mingus,
Technova,
The Names,
Pussy Galore,
Sonny Sharrock,
Junior Murvin,
Vladislav Delay,
Sam Rivers,
Angels of Light & Akron/Family, Angels of Light & Akron/Family, Angels of Light & Akron/Family, Angels of Light & Akron/Family.
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.