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 Zambia and from Lille.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
I'm losing my edge to the art-school Houston 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 sitar sounds with much patience.
I was there when Lou Reed 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 Bill Near to the punk 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 Jeff Mills. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every Goldenarms 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Soft Machine,
Sam Rivers,
Colin Newman,
Drive Like Jehu,
Tim Buckley,
Kauko Röyhkä ja Narttu,
The Skatalites,
Marc Almond,
Scan 7,
The Doors,
The Men They Couldn't Hang,
Al Stewart,
Country Joe & The Fish,
The Victims,
The Gun Club,
Hashim,
Howard Jones,
Schoolly D,
Joensuu 1685,
Be Bop Deluxe,
Guru Guru,
Kurtis Blow,
Moss Icon,
Oneida,
Bobby Sherman,
The Blues Magoos,
Man Eating Sloth,
The Chocolate Watch Band,
Beasts of Bourbon,
Simply Red,
8 Eyed Spy,
Toni Rubio,
Junior Murvin,
Crime,
T.S.O.L.,
Ultimate Spinach,
Jerry Gold Smith,
Niagra,
Moby Grape,
The Five Americans,
Whodini,
Scion,
OOIOO,
Idris Muhammad,
Tropical Tobacco,
Fugazi,
World's Most,
Peter & Gordon,
Funkadelic,
Danielle Patucci,
Harmonia,
Wolf Eyes,
Swell Maps,
Skarface,
Aswad,
Louis and Bebe Barron,
Laurel Aitken,
Juan Atkins,
China Crisis,
Judy Mowatt,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.