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 Qatar and from Copenhagen.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Lyon.
I'm losing my edge to the art-school Columbus 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 Chris Corsano to the funk kids.
I played it at the Hacienda.
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 Man Parrish. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Johnny Clarke 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
Parry Music,
Godley & Creme,
Con Funk Shun,
This Heat,
The Sisters of Mercy,
Fat Boys,
the Association,
Deutsch Amerikanische Freundschaft,
R.M.O.,
X-101,
World's Most,
Bang on a Can All-Stars,
The Pop Group,
June Days,
Kango’s Stein Massive,
Siouxsie and the Banshees,
Stetsasonic,
The Cramps,
Tears for Fears,
Echospace,
Piero Umiliani,
John Lydon,
The Sound,
Fifty Foot Hose,
Alice Coltrane,
Nas,
The Slackers,
Duran Duran,
Man Eating Sloth,
Roxy Music,
Marcia Griffiths,
Stockholm Monsters,
Excepter,
Marc Almond,
Tres Demented,
The Walker Brothers,
Pantytec,
Pet Shop Boys,
Avey Tare,
The Kinks,
The New Christs,
Bauhaus,
Teenage Jesus and the Jerks,
The Saints,
Oppenheimer Analysis,
Black Flag,
Yazoo,
Kurtis Blow,
The Stooges,
The United States of America,
Matthew Halsall,
Terror Squad Feat. Camron,
Dawn Penn,
Grauzone,
The Leaves,
T.S.O.L.,
Television Personalities,
Janne Schatter,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.