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 Nepal and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school Edmonton 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 David Bowie 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 Pretty Things to the dance 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 Traffic Nightmare. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Bobby Womack,
Isaac Hayes,
Section 25,
Clear Light,
Cluster,
Lizzy Mercier Descloux,
The Human League,
Quadrant,
the Germs,
Freddie Wadling,
The Gladiators,
The Buckinghams,
Ponytail,
The Durutti Column,
Maurizio,
Urselle,
48th St. Collective,
Little Man,
Excepter,
Sällskapet,
Rapeman,
Jerry's Kids,
The Pretty Things,
The Fortunes,
Fort Wilson Riot,
Negative Approach,
Boz Scaggs,
the Fania All-Stars,
The Blackbyrds,
Johnny Osbourne,
Angels of Light & Akron/Family,
Leonard Cohen,
Japan,
Colin Newman,
Boogie Down Productions,
Kerrie Biddell,
Jeff Mills,
Quantec,
Nick Fraelich,
The Victims,
Unrelated Segments,
Sonny Sharrock,
Grey Daturas,
Be Bop Deluxe,
Kool G Rap & DJ Polo,
Fugazi,
Faust,
Crispy Ambulance,
Q65,
Ronnie Foster,
DJ Sneak,
The Zeros,
Fear,
Steve Hackett,
Lou Christie,
Deepchord,
Shoche,
Radio Birdman,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.