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 Slovenia and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Tehran and Tokyo.
I'm losing my edge to the art-school Seoul 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 harpsichord 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 Remains to the funk kids.
I played it at the Crocodile.
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 Deadbeat. All the underground hits.
All The Young Rascals tracks. I heard you have a vinyl of every Pantaleimon 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 '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Nation of Ulysses,
Bad Manners,
Negative Approach,
Notorious Big And Bone Thugs,
Jacques Brel,
Grandmaster Flash,
Bootsy Collins,
Sixth Finger,
Deadbeat,
L. Decosne,
Sun Ra,
The Cramps,
Monks,
John Coltrane,
Kurtis Blow,
Althea and Donna,
Marine Girls,
Stockholm Monsters,
The Fire Engines,
Hasil Adkins,
Grauzone,
Das Ding,
Joey Negro,
Black Sheep,
Scan 7,
Pussy Galore,
Main Source,
Anthony Braxton,
Organ,
Fatback Band,
Vaughan Mason & Crew,
Section 25,
Patti Smith,
Grey Daturas,
The Skatalites,
Gregory Isaacs,
Larry & the Blue Notes,
The Techniques,
CMW,
The Jesus and Mary Chain,
Matthew Bourne,
Echo & the Bunnymen,
Man Eating Sloth,
Black Moon,
Lightning Bolt,
Brand Nubian,
the Germs,
Trumans Water,
The Selecter,
Jesper Dahlbäck,
kango's stein massive,
In Retrospect,
Massinfluence,
LL Cool J,
Swans,
The New Christs,
Wasted Youth,
R.M.O.,
Janne Schatter,
Yusef Lateef,
DNA, DNA, DNA, DNA.
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.