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 Suriname and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
I'm losing my edge to the art-school Glasgow 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 marimba 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 Panda Bear to the crunk 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 Dawn Penn. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal punk 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Harmonia,
X-101,
Oblivians,
Vaughan Mason & Crew,
The Jesus and Mary Chain,
Oneida,
The Offenders,
Shuggie Otis,
Yazoo,
Gregory Isaacs,
Bobby Womack,
The Smiths,
Fluxion,
Henry Cow,
Los Fastidios,
The Shadows of Knight,
Television,
The Red Krayola,
Orchestral Manoeuvres in the Dark,
Darondo,
It's A Beautiful Day,
Rosa Yemen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Dr. Dre and Snoop Doggy Dog,
Moby Grape,
Sonic Youth,
Pulsallama,
Wolf Eyes,
Sparks,
Gang Gang Dance,
Laurel Aitken,
Dead Boys,
Dorothy Ashby,
Mars,
Curtis Mayfield,
A Certain Ratio,
Swell Maps,
The Evens,
Josef K,
Kerri Chandler,
Yusef Lateef,
Slave,
Patti Smith,
Nick Fraelich,
James Chance & The Contortions,
Tomorrow,
Y Pants,
The Grass Roots,
The Cowsills,
Aaron Thompson,
The Five Americans,
Aural Exciters,
Tubeway Army,
The Zeros,
The Human League,
Neil Young & Crazy Horse,
Boogie Down Productions,
Ossler, Ossler, Ossler, Ossler.
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.