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 Paraguay and from Shanghai.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator 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 Gil Scott-Heron and Jamie xx to the crunk kids.
I played it at the Astoria.
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 ABC. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
FM Einheit,
Alice Coltrane,
Richard Hell and the Voidoids,
The Martian,
David McCallum,
LL Cool J,
Von Mondo,
Yellowson,
Susan Cadogan,
Gian Franco Pienzio,
Sandy B,
Crash Course in Science,
Michelle Simonal,
Scratch Acid,
Kas Product,
Eric Copeland,
Ajijia Myrayebe,
Soul II Soul,
the Bar-Kays,
Hardrive,
Arthur Verocai,
Whodini,
Fort Wilson Riot,
Captain Beefheart & His Magic Band,
Monks,
The Sonics,
Marcia Griffiths,
Public Image Ltd.,
Siglo XX,
Lee Hazlewood,
Panda Bear,
Rhythm & Sound,
Ten City,
Electric Prunes,
X-Ray Spex,
Young Marble Giants,
Faraquet,
Todd Terry,
Tubeway Army,
London Community Gospel Choir,
Blossom Toes,
Jeru the Damaja,
The Remains,
OOIOO,
Jerry Gold Smith,
Gil Scott-Heron and Jamie xx,
Aural Exciters,
the Swans,
Tommy Roe,
Little Man,
Kayak,
Surgeon,
Oneida,
The Detroit Cobras,
The Cure,
Amon Düül,
Spoonie Gee,
Roxy Music,
China Crisis,
Justin Hinds & The Dominoes,
Eric B and Rakim,
Kango’s Stein Massive,
Heavy D & The Boyz,
Monolake, Monolake, Monolake, Monolake.
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.