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 Sweden and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1973.
I'm losing my edge.
To all the kids in London and Bremen.
I'm losing my edge to the art-school Toronto 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 Pharoah Sanders to the disco kids.
I played it at the Spitz.
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 Porter Ricks. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Parry Music,
Q65,
The Blues Magoos,
Sun Ra Arkestra,
The Leaves,
Hasil Adkins,
Gastr Del Sol,
The Gladiators,
The Saints,
Malaria!,
Sunsets and Hearts,
New Order,
Absolute Body Control,
Japan,
Eric Dolphy,
The Doobie Brothers,
Bush Tetras,
Deutsch Amerikanische Freundschaft,
Visage,
X-102,
Bronski Beat,
Rosa Yemen,
Make Up,
Aswad,
Idris Muhammad,
Pussy Galore,
Black Flag,
The Blackbyrds,
Gichy Dan,
It's A Beautiful Day,
Man Eating Sloth,
Wally Richardson,
Brand Nubian,
Sex Pistols,
Angels of Light & Akron/Family,
Siouxsie and the Banshees,
Q and Not U,
Pete Rock & C.L. Smooth,
Amazonics,
Chris Corsano,
UT,
Soul II Soul,
The Dave Clark Five,
Guru Guru,
Monks,
Rod Modell,
Henry Cow,
Joy Division,
The Invisible,
Avey Tare & Kría Brekkan,
Byron Stingily,
Adolescents,
Cybotron,
Symarip,
Public Enemy,
The Count Five,
Gil Scott Heron,
Flash Fearless,
David Axelrod,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.