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 Hungary and from Houston.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1965 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Edmonton 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Angry Samoans to the dance kids.
I played it at the Roxy.
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 Roy Ayers Ubiquity. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Rod Modell record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
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 Interpol record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Aloha Tigers,
Gichy Dan,
The Zeros,
It's A Beautiful Day,
Hot Snakes,
X-101,
In Retrospect,
Jandek,
Cluster,
EPMD,
Scion,
Joe Finger,
the Swans,
Tim Buckley,
Lonnie Liston Smith,
Major Organ And The Adding Machine,
DeepChord presents Echospace,
Jeff Lynne,
The Dead C,
The Victims,
Los Fastidios,
Dennis Brown,
Freddie Wadling,
Grey Daturas,
Magma,
New York Dolls,
Aswad,
Man Parrish,
Skriet,
Technova,
Intrusion,
Dark Day,
The Blackbyrds,
48th St. Collective,
James White and The Blacks,
Eyeless In Gaza,
The Fall,
Rod Modell,
Lalann,
Radio Birdman,
Tom Boy,
The Golliwogs,
Gang Starr,
Symarip,
Buzzcocks,
Jesper Dahlback,
The Flesh Eaters,
Todd Rundgren,
Be Bop Deluxe,
Black Moon,
Gabor Szabo,
Sly & The Family Stone,
Thee Headcoats,
Faust,
The Tremeloes,
Procol Harum,
Circle Jerks,
Cabaret Voltaire,
Basic Channel,
Agitation Free,
Pylon,
New Order, New Order, New Order, New Order.
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.