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 Bhutan and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1979.
I'm losing my edge.
To all the kids in London and Bremen.
I'm losing my edge to the art-school Cairo 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the organ sounds with much patience.
I was there when David Bowie 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 Khruangbin to the punk 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 Bill Near. All the underground hits.
All Gastr Del Sol tracks. I heard you have a vinyl of every Camouflage 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis 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?
Joey Negro,
MC5,
Lizzy Mercier Descloux,
The Black Dice,
The Cramps,
Livin' Joy,
The Leaves,
Section 25,
China Crisis,
The Searchers,
London Community Gospel Choir,
Janne Schatter,
Yusef Lateef,
Fifty Foot Hose,
Liliput,
the Slits,
Symarip,
Eric Dolphy,
the Association,
Althea and Donna,
The Smiths,
The Techniques,
Nick Cave & The Bad Seeds,
Quadrant,
Scott Walker,
Das Ding,
The Human League,
Heaven 17,
Selector Dub Narcotic,
Severed Heads,
Marcia Griffiths,
Tears for Fears,
Liaisons Dangereuses,
Erasure,
Bush Tetras,
The Fortunes,
Mission of Burma,
Half Japanese,
Kevin Saunderson,
The Trojans,
The Vogues,
Heavy D & The Boyz,
Scion,
Inner City,
Boredoms,
Silicon Teens,
KRS-One,
The Divine Comedy,
Minny Pops,
John Cale,
Hashim,
Warren Ellis,
Subhumans,
Sun City Girls,
Urselle,
Ash Ra Tempel,
L. Decosne,
Blancmange,
The Moleskins,
Theoretical Girls,
Cluster,
Mars,
Agent Orange,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.