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 Togo and from Madrid.
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 1978.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron 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 Matthew Halsall to the disco kids.
I played it at CBGB's.
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 Masters at Work. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Angels of Light & Akron/Family record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Bill Near,
The Names,
Liliput,
Kayak,
Ajijia Myrayebe,
A Certain Ratio,
Stereo Dub,
Swans,
Lee Hazlewood,
Alphaville,
Jeff Mills,
Porter Ricks,
Röyhkä ja Rättö ja Lehtisalo,
The Gap Band,
Mission of Burma,
Nick Fraelich,
Fela Kuti,
Pulsallama,
Lonnie Liston Smith,
Sly & The Family Stone,
Wire,
Louis and Bebe Barron,
Yaz,
The Move,
New York Dolls,
Gastr Del Sol,
Rowland S Howard / Lydia Lunch,
The Electric Prunes,
The Index,
Index,
Chris Corsano,
The Shadows of Knight,
Quadrant,
UT,
Ultra Naté,
Barbara Tucker,
Joensuu 1685,
The Music Machine,
Main Source,
London Community Gospel Choir,
Grey Daturas,
Jawbox,
Dark Day,
Oppenheimer Analysis,
Tropical Tobacco,
the Sonics,
Graham Central Station,
Camouflage,
Mandrill,
Moebius,
Ohio Players,
Absolute Body Control,
The Mighty Diamonds,
Neu!,
Eric Dolphy,
The Zeros,
Hot Snakes,
Von Mondo,
The Happenings,
Harmonia,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.