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 Dominican Republic and from Beijing.
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 1974.
I'm losing my edge.
To all the kids in Houston and Lagos.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 The Dead C to the crunk kids.
I played it at Trash.
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 John Holt. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Hashim,
Negative Approach,
Deutsch Amerikanische Freundschaft,
Jesper Dahlbäck,
Whodini,
Second Layer,
Liaisons Dangereuses,
Massinfluence,
Radiohead,
Laurel Aitken,
James White and The Blacks,
Tres Demented,
Flash Fearless,
Iggy Pop,
Heaven 17,
The Victims,
The Royal Family And The Poor,
Babytalk,
Guru Guru,
Mo-Dettes,
Kango’s Stein Massive,
Inner City,
Bobby Womack,
ABC,
Jeff Lynne,
Dark Day,
The Angels of Light,
The Durutti Column,
Darondo,
The Black Dice,
The Slackers,
Cybotron,
John Foxx,
Crash Course in Science,
Masters at Work,
the Soft Cell,
Wasted Youth,
Archie Shepp,
The Fugs,
The Men They Couldn't Hang,
Mary Jane Girls,
Alton Ellis,
Alison Limerick,
CMW,
Roger Hodgson,
Justin Hinds & The Dominoes,
Robert Görl,
Lizzy Mercier Descloux,
Ken Boothe,
Rowland S Howard / Lydia Lunch,
The West Coast Pop Art Experimental Band,
the Swans,
The Music Machine,
The Smoke,
Danielle Patucci,
The Golliwogs,
Wighnomy Brothers & Robag Wruhme,
Zero Boys,
Bill Wells,
Marc Romboy vs. Booka Shade,
Bang on a Can All-Stars,
Grandmaster Flash and the Furious Five,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.