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 Kiribati and from Beijing.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Milan and Tehran.
I'm losing my edge to the art-school Accra 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Fatback Band to the punk kids.
I played it at the 40 Watt.
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 kango's stein massive. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every The Cure 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Bizarre Inc.,
Rapeman,
The Shadows of Knight,
The Move,
Avey Tare's Slasher Flicks,
The Chocolate Watch Band,
Stetsasonic,
Skriet,
The Fuzztones,
Pantaleimon,
Rekid,
Sun Ra,
Grandmaster Flash,
Groovy Waters,
Hoover,
Archie Shepp,
Art Ensemble Of Chicago,
Pierre Henry,
EPMD,
E-Dancer,
Nick Cave & The Bad Seeds,
Oneida,
Bill Near,
Kayak,
Ralphi Rosario,
Accadde A,
New York Dolls,
Audionom,
New Order,
Gil Scott-Heron & Brian Jackson,
Avey Tare,
Marine Girls,
Marc Almond,
Simply Red,
Technova,
Barclay James Harvest,
Carl Craig,
Yaz,
The Moody Blues,
Spandau Ballet,
Chris Corsano,
Mark Hollis,
Mission of Burma,
Bobby Sherman,
The Music Machine,
Dennis Brown,
Stockholm Monsters,
The Martian,
Model 500,
The Modern Lovers,
Thee Headcoats,
48th St. Collective,
Quantec,
The Smiths,
Iggy Pop,
Robert Wyatt,
Yazoo,
Outsiders,
Q65,
Arcadia,
Lou Reed & John Cale,
Arab on Radar,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.