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 Burkina and from Mexico City.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Taipei and Calgary.
I'm losing my edge to the art-school Tokyo 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Leaves to the rock 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 Wire. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Deakin,
Minutemen,
Eurythmics,
Q and Not U,
Visionaries,LMNO, T- Love & Iriscience,
Big Daddy Kane,
Chris & Cosey,
Shuggie Otis,
48th St. Collective,
The Electric Prunes,
The Modern Lovers,
Grandmaster Flash,
Electric Light Orchestra,
Oppenheimer Analysis,
The Smoke,
Roxy Music,
The Gladiators,
Joe Finger,
Sister Nancy,
Jesper Dahlback,
Main Source,
Suburban Knight,
The Wake,
Swell Maps,
The Fire Engines,
Porter Ricks,
Cameo,
Procol Harum,
Maurizio,
Dual Sessions,
Reagan Youth,
Shoche,
Talk Talk,
Sarah Menescal,
Lungfish,
The Happenings,
Cluster,
Black Moon,
Model 500,
Nils Olav,
Popol Vuh,
The Dirtbombs,
Röyhkä ja Rättö ja Lehtisalo,
Tim Buckley,
Marshall Jefferson,
Schoolly D,
New York Dolls,
The Raincoats,
The Buckinghams,
Absolute Body Control,
Kevin Saunderson,
Lyres,
The Royal Family And The Poor,
Robert Görl,
Crime,
Byron Stingily,
Echospace,
Slave,
Gregory Isaacs,
Wighnomy Brothers & Robag Wruhme,
Jandek,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.