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 Angola and from Lagos.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 The Slits to the punk 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 Idris Muhammad. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every the Germs record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Liaisons Dangereuses,
Bang on a Can All-Stars,
The Angels of Light,
David Axelrod,
Fluxion,
Oppenheimer Analysis,
H. Thieme,
X-101,
Interpol,
Crispy Ambulance,
U.S. Maple,
The Detroit Cobras,
Quantec,
Morten Harket,
Kango’s Stein Massive,
Public Image Ltd.,
Stetsasonic,
Sun Ra Arkestra,
Davy DMX,
New York Dolls,
Dawn Penn,
Avey Tare & Kría Brekkan,
Saccharine Trust,
Camouflage,
Roy Ayers Ubiquity,
Swell Maps,
Black Sheep,
Simply Red,
Vainqueur,
Hoover,
Dual Sessions,
Magma,
Roxette,
The Offenders,
Procol Harum,
Gang of Four,
The Searchers,
Nils Olav,
The Cosmic Jokers,
The Vogues,
Arcadia,
Cheater Slicks,
Robert Hood,
Royal Trux,
The Cramps,
Visage,
Joey Negro,
Grandmaster Flash,
Sexual Harrassment,
Bauhaus,
Colin Newman,
Ten City,
Lou Reed,
Crime,
Mad Mike,
Surgeon,
Terry Callier,
B.T. Express,
ABBA, ABBA, ABBA, ABBA.
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.