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 Portugal and from Cairo.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Salvador and Copenhagen.
I'm losing my edge to the art-school Taipei 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 808 sounds with much patience.
I was there when Captain Beefheart 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 Mighty Diamonds to the jazz 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 Grandmaster Flash. All the underground hits.
All Technova tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
The Fire Engines,
Kauko Röyhkä ja Narttu,
Bang on a Can All-Stars,
Siouxsie and the Banshees,
The Toasters,
Kango’s Stein Massive,
Make Up,
Audionom,
Jandek,
Wally Richardson,
Television Personalities,
Todd Terry,
Soft Machine,
The West Coast Pop Art Experimental Band,
Robert Görl,
Letta Mbulu,
Parry Music,
Neu!,
the Fania All-Stars,
Deutsch Amerikanische Freundschaft,
The Sisters of Mercy,
Minnie Riperton,
Dave Gahan,
the Bar-Kays,
A Flock of Seagulls,
Susan Cadogan,
The Young Rascals,
Peter and Kerry,
Sugar Minott,
Suburban Knight,
Bootsy Collins,
The Jesus and Mary Chain,
Hasil Adkins,
Rufus Thomas,
Judy Mowatt,
Masters at Work,
Wighnomy Brothers & Robag Wruhme,
The Knickerbockers,
Amon Düül II,
Leonard Cohen,
Byron Stingily,
The Residents,
The Blackbyrds,
The Slits,
Bobby Hutcherson,
Mad Mike,
Eddi Front,
MDC,
Hoover,
Rowland S Howard / Lydia Lunch,
Ossler,
Ken Boothe,
The Royal Family And The Poor,
Wings,
The Smoke,
Sparks,
Amazonics,
Yellowson,
The Velvet Underground,
Man Parrish,
Roxette,
Mantronix, Mantronix, Mantronix, Mantronix.
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.