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 Nepal and from Manchester.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Bologna.
I'm losing my edge to the art-school London 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 sitar 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 Guru Guru 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 Sound Behaviour. All the underground hits.
All James White and The Blacks tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Oblivians,
The Vogues,
Josef K,
Boogie Down Productions,
Saccharine Trust,
Swell Maps,
The Pretty Things,
Gian Franco Pienzio,
Notorious BIG live in Amsterdam,
Spandau Ballet,
Sex Pistols,
Anthony Braxton,
The Electric Prunes,
Cybotron,
Rotary Connection,
Audionom,
The Knickerbockers,
DeepChord presents Echospace,
The American Breed,
Groovy Waters,
The Walker Brothers,
Roy Ayers Ubiquity,
Minnie Riperton,
PIL,
The Monks,
The Names,
Drexciya,
Gong,
Tears for Fears,
Loose Ends,
Cabaret Voltaire,
Janne Schatter,
Steve Hackett,
Niagra,
Vladislav Delay,
Strawberry Alarm Clock,
Tropical Tobacco,
Soul Sonic Force,
Crispian St. Peters,
Fatback Band,
Joensuu 1685,
Electric Light Orchestra,
Rahsaan Roland Kirk,
Sun City Girls,
Oneida,
The Motions,
John Holt,
Metal Thangz,
Roger Hodgson,
Skarface,
Blossom Toes,
The Red Krayola,
Warren Ellis,
Dawn Penn,
Marshall Jefferson,
Henry Cow,
Black Pus,
Angels of Light & Akron/Family,
Ludus,
Piero Umiliani,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.