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 Lesotho and from Mumbai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Jakarta 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 theremin 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 The Blackbyrds to the disco 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 Grey Daturas. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
Ash Ra Tempel,
Mandrill,
Depeche Mode,
Judy Mowatt,
Funky Four + One,
The Detroit Cobras,
Deutsch Amerikanische Freundschaft,
Suicide,
Magazine,
Vainqueur,
The Evens,
Mad Mike,
Gichy Dan,
The Motions,
X-101,
Avey Tare,
Eric B and Rakim,
Joensuu 1685,
China Crisis,
Super Lover Cee & Casanova Rud,
the Normal,
Traffic Nightmare,
Sexual Harrassment,
Terry Callier,
Pharoah Sanders,
The Blues Magoos,
Dual Sessions,
The Fire Engines,
The Men They Couldn't Hang,
Max Romeo,
Ultra Naté,
The Seeds,
Tom Boy,
Art Ensemble Of Chicago,
Monolake,
Lou Reed & John Cale,
Tim Buckley,
Young Marble Giants,
Robert Wyatt,
Goldenarms,
Zero Boys,
Scrapy,
Alton Ellis,
The Fall,
Das Ding,
The American Breed,
Infiniti,
Outsiders,
Heaven 17,
Peter and Kerry,
U.S. Maple,
Jerry Gold Smith,
Soft Cell,
Connie Case,
Yusef Lateef,
Todd Terry,
Fela Kuti,
Supertramp,
Avey Tare & Kría Brekkan,
Cluster,
Sandy B,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.