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 Norway and from New York.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 K-Klass to the rap 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 The Sound. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Arthur Verocai,
Model 500,
Bobby Womack,
Buzzcocks,
Lou Reed & John Cale,
Moby Grape,
Black Sheep,
Colin Newman,
Lou Reed,
Kauko Röyhkä ja Narttu,
The Monochrome Set,
The Kinks,
Quadrant,
Bronski Beat,
Monolake,
Peter and Kerry,
Easy Going,
Goldenarms,
Scion,
Blake Baxter,
The Slackers,
Outsiders,
Sällskapet,
Man Eating Sloth,
Q65,
Alice Coltrane,
Country Teasers,
These Immortal Souls,
Fad Gadget,
Echo & the Bunnymen,
Warren Ellis,
Carl Craig,
Sonic Youth,
Cheater Slicks,
Erykah Badu,
Alison Limerick,
The Durutti Column,
Schoolly D,
The New Christs,
Hasil Adkins,
Pierre Henry,
ABC,
T. Rex,
Letta Mbulu,
Scientists,
Public Image Ltd.,
Gian Franco Pienzio,
James Chance & The Contortions,
The Black Dice,
Chrome,
Leonard Cohen,
The Cramps,
Mandrill,
Marcia Griffiths,
Juan Atkins,
Sarah Menescal,
Bill Near,
Grandmaster Flash,
Reuben Wilson,
H. Thieme,
Avey Tare's Slasher Flicks,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.