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 Turkmenistan and from Seoul.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Manila 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Fat Boys to the jazz kids.
I played it at Trash.
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 Donald Byrd. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Camberwell Now 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rufus Thomas,
the Slits,
Justin Hinds & The Dominoes,
Pete Rock & C.L. Smooth,
New Order,
Saccharine Trust,
Smog,
Tubeway Army,
David Bowie,
The Leaves,
Eve St. Jones,
These Immortal Souls,
Youth Brigade,
Brand Nubian,
Funkadelic,
The Doors,
The Move,
Juan Atkins,
Harmonia,
Qualms,
A Flock of Seagulls,
Glenn Branca,
Oppenheimer Analysis,
Henry Cow,
Sugar Minott,
Roy Ayers Ubiquity,
Bush Tetras,
Yusef Lateef,
Pet Shop Boys,
Soft Machine,
Model 500,
Ralphi Rosario,
Grandmaster Flash and the Furious Five,
Barry Ungar,
Nico,
Nick Cave & The Bad Seeds,
The Blackbyrds,
Ronnie Foster,
Sister Nancy,
Audionom,
Mr. Review,
Laurel Aitken,
Newcleus,
the Normal,
Grauzone,
Cabaret Voltaire,
Goldenarms,
The Happenings,
The Fortunes,
Davy DMX,
Patti Smith,
The Zeros,
The New Christs,
The Walker Brothers,
Arab on Radar,
Lightning Bolt,
Con Funk Shun,
De La Soul & Jungle Brothers,
Lalann,
The Gories,
Beasts of Bourbon,
It's A Beautiful Day,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.