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 Syria and from Winnipeg.
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 1977.
I'm losing my edge.
To all the kids in Accra and Paris.
I'm losing my edge to the art-school Toronto 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 The Pop Group to the disco 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 The Count Five. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
It's A Beautiful Day,
CMW,
Mission of Burma,
Blancmange,
Anakelly,
Toni Rubio,
Gang Green,
David Axelrod,
The Raincoats,
Gary Puckett & The Union Gap,
Kaleidoscope,
The Toasters,
Cecil Taylor,
Piero Umiliani,
Arcadia,
The Buckinghams,
The Smiths,
Agitation Free,
Kurtis Blow,
Idris Muhammad,
Organ,
Rosa Yemen,
The Techniques,
Unwound,
Das Ding,
Quantec,
Au Pairs,
Eve St. Jones,
Surgeon,
Radio Birdman,
Sällskapet,
Fugazi,
Nico,
Subhumans,
Arab on Radar,
Cybotron,
Reuben Wilson,
Ronan,
Desert Stars,
Amon Düül,
Rakim,
X-101,
The Flesh Eaters,
Albert Ayler,
Kauko Röyhkä ja Narttu,
ABBA,
Kango’s Stein Massive,
Art Ensemble Of Chicago,
Rowland S Howard / Lydia Lunch,
Yellowson,
F. McDonald,
Negative Approach,
cv313,
Gang Starr,
Bobby Byrd,
Rhythm & Sound,
The Saints,
The Black Dice,
James Chance & The Contortions,
Glambeats Corp.,
The Kinks, The Kinks, The Kinks, The Kinks.
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.