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 Bolivia and from Woodstock.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Houston.
I'm losing my edge to the art-school Tokyo 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 sitar 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 Suburban Knight to the crunk kids.
I played it at the Roxy.
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 Fifty Foot Hose. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Maurizio 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
The Smoke,
48th St. Collective,
Eurythmics,
Electric Light Orchestra,
Mars,
Eric B and Rakim,
Tim Buckley,
Deakin,
Moby Grape,
Johnny Clarke,
Echospace,
Super Lover Cee & Casanova Rud,
Robert Wyatt,
The United States of America,
Ash Ra Tempel,
New York Dolls,
Nico,
Tommy Roe,
Scott Walker,
Lindisfarne,
Ultravox,
Sun Ra,
Flamin' Groovies,
Negative Approach,
Grandmaster Flash,
Minny Pops,
Howard Jones,
The Pop Group,
Japan,
Public Image Ltd.,
Gerry Rafferty,
Marshall Jefferson,
The Searchers,
Fifty Foot Hose,
Matthew Bourne,
The Black Dice,
Can,
Oppenheimer Analysis,
Young Marble Giants,
The Index,
Soul II Soul,
Soul Sonic Force,
John Holt,
Porter Ricks,
Hashim,
Arab on Radar,
Pole,
Wire,
Severed Heads,
Jesper Dahlback,
The Jesus and Mary Chain,
Ituana,
Chris & Cosey,
Index,
Gregory Isaacs,
Oneida,
The Shadows of Knight,
The Last Poets,
Fela Kuti,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.