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 Ghana and from Calgary.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Lille 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Vogues to the punk kids.
I played it at Trash.
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 Rapeman. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Beasts of Bourbon 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
DeepChord presents Echospace,
Kerrie Biddell,
The Searchers,
Supertramp,
The Saints,
Glambeats Corp.,
Hoover,
Bronski Beat,
Wighnomy Brothers & Robag Wruhme,
Goldenarms,
Gil Scott-Heron & Brian Jackson,
The Names,
Nick Fraelich,
The Divine Comedy,
Dorothy Ashby,
The Gories,
Jerry Gold Smith,
Q65,
Rhythm & Sound,
Avey Tare's Slasher Flicks,
Amon Düül II,
Josef K,
Sarah Menescal,
Terry Callier,
The Gap Band,
Theoretical Girls,
Louis and Bebe Barron,
James Chance & The Contortions,
JFA,
Matthew Halsall,
The Buckinghams,
Notorious Big And Bone Thugs,
Todd Terry,
Bobby Sherman,
Motorama,
Public Enemy,
Royal Trux,
Soulsonic Force,
Kool Moe Dee,
Cymande,
Gerry Rafferty,
Cluster,
The Barracudas,
Rhythim Is Rhythim,
Gary Puckett & The Union Gap,
The Pop Group,
Section 25,
Severed Heads,
Reuben Wilson,
John Coltrane,
Lyres,
Sparks,
New Age Steppers,
Marcia Griffiths,
Art Ensemble Of Chicago,
Boredoms,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.