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 Cuba and from Jakarta.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Calgary and Toronto.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Rapeman to the techno kids.
I played it at the Spitz.
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 Agent Orange. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Sam Rivers record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Grandmaster Flash and the Furious Five,
Rapeman,
Circle Jerks,
The Cure,
The Jesus and Mary Chain,
The Divine Comedy,
John Coltrane,
Pierre Henry,
Trumans Water,
Gang Gang Dance,
Ponytail,
Sun City Girls,
Shoche,
Tears for Fears,
Gregory Isaacs,
Crash Course in Science,
Nils Olav,
Dead Boys,
Spandau Ballet,
Mo-Dettes,
Das Ding,
Rhythm & Sound,
R.M.O.,
Smog,
Bobbi Humphrey,
Ohio Players,
Essential Logic,
Larry & the Blue Notes,
The Dead C,
The Doors,
Manfred Mann's Earth Band,
Babytalk,
Curtis Mayfield,
Captain Beefheart & His Magic Band,
The Pretty Things,
Mary Jane Girls,
Japan,
David Bowie,
Alison Limerick,
Barry Ungar,
Main Source,
Hasil Adkins,
Donny Hathaway,
Country Joe & The Fish,
Deepchord,
Vaughan Mason & Crew,
Amon Düül II,
Moebius,
Dorothy Ashby,
Hardrive,
Scientists,
Parry Music,
Pole,
Lalann,
The Vogues,
Avey Tare & Kría Brekkan,
Godley & Creme,
Deadbeat,
Barbara Tucker,
Peter Gordon & Love of Life Orchestra,
Interpol,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.