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 Korea South and from Mumbai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and New York.
I'm losing my edge to the art-school Portland 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 guitar 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 Monolake to the grime 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 Lebanon Hanover. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal jazz 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
La Düsseldorf,
Rhythim Is Rhythim,
Drexciya,
Carl Craig,
Girls At Our Best!,
Pussy Galore,
Skaos,
Laurel Aitken,
U.S. Maple,
The Durutti Column,
Barrington Levy,
The Golliwogs,
Skriet,
Jacques Brel,
Marc Almond,
Andrew Hill,
James Chance & The Contortions,
Johnny Osbourne,
kango's stein massive,
Judy Mowatt,
Electric Prunes,
Metal Thangz,
The Royal Family And The Poor,
the Association,
Eyeless In Gaza,
Make Up,
Hasil Adkins,
Liaisons Dangereuses,
The Evens,
Gong,
De La Soul & Jungle Brothers,
Roxette,
Stereo Dub,
Harpers Bizarre,
Junior Murvin,
Avey Tare & Kría Brekkan,
The Fortunes,
Scratch Acid,
Pole,
Lizzy Mercier Descloux,
Country Teasers,
ABC,
K-Klass,
Goldenarms,
Vainqueur,
Malaria!,
Gichy Dan,
Steve Hackett,
Yellowson,
The Fuzztones,
Ronan,
Boz Scaggs,
Sonny Sharrock,
Spandau Ballet,
F. McDonald,
Babytalk,
One Last Wish,
Sarah Menescal,
Bob Dylan,
Pere Ubu,
Mary Jane Girls,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.