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 Russia and from Milan.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Bremen and Taipei.
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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Lebanon Hanover to the dance kids.
I played it at CBGB's.
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 Monks. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Stetsasonic 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 '90s.
I hear you're buying a chamberlin and a rhodes 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 spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Unwound,
48th St. Collective,
Sugar Minott,
Avey Tare's Slasher Flicks,
The West Coast Pop Art Experimental Band,
The Busters,
Terror Squad Feat. Camron,
Hasil Adkins,
Nick Fraelich,
Franke,
Nation of Ulysses,
Bluetip,
Pole,
Brass Construction,
Howard Jones,
Johnny Osbourne,
Strawberry Alarm Clock,
Fort Wilson Riot,
Skriet,
Sarah Menescal,
The Victims,
Severed Heads,
Rowland S Howard / Lydia Lunch,
kango's stein massive,
Lizzy Mercier Descloux,
Kerri Chandler,
The Real Kids,
Todd Rundgren,
Fear,
Urselle,
Second Layer,
The Toasters,
Roxy Music,
the Sonics,
Sun Ra,
Wings,
Magazine,
Laurel Aitken,
Mr. Review,
The Martian,
B.T. Express,
The Chocolate Watch Band,
Brand Nubian,
Altered Images,
Gong,
The Associates,
Manfred Mann's Earth Band,
Camberwell Now,
Rufus Thomas,
Von Mondo,
Ponytail,
Justin Hinds & The Dominoes,
Gregory Isaacs,
Inner City,
Essential Logic,
Khruangbin,
Tropical Tobacco,
Alton Ellis,
Notorious Big And Bone Thugs,
Skarface,
Smog,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.