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 St Kitts & Nevis and from Toronto.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Portland and Delhi.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the oboe 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 X-101 to the rap kids.
I played it at Cafe Wha.
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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Royal Trux,
Ultra Naté,
Chris Corsano,
Sixth Finger,
Ken Boothe,
Maleditus Sound,
Eric B and Rakim,
Magazine,
The Wake,
The Fugs,
Mark Hollis,
Laurel Aitken,
Camron Feat. Memphis Bleek And Beenie Seigel,
Carl Craig,
Swans,
the Soft Cell,
Radiopuhelimet,
Lightning Bolt,
Fatback Band,
Erasure,
Sad Lovers and Giants,
Minnie Riperton,
The Associates,
The Alarm Clocks,
Ludus,
Tubeway Army,
The Martian,
Section 25,
Scrapy,
Marcia Griffiths,
Cameo,
Los Fastidios,
Funkadelic,
The Young Rascals,
Kenny Larkin,
Yazoo,
The Fire Engines,
Procol Harum,
48th St. Collective,
The Invisible,
Barrington Levy,
Cecil Taylor,
Ice-T,
Scion,
Scott Walker,
Darondo,
Wire,
The Pop Group,
Japan,
Peter Gordon & Love of Life Orchestra,
It's A Beautiful Day,
Wally Richardson,
The Shadows of Knight,
Unrelated Segments,
The Vogues,
Schoolly D,
Mo-Dettes,
Boz Scaggs,
The Monks,
The Raincoats,
Audionom,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.