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 Venezuela and from Lyon.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 Terror Squad Feat. Camron 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 Eve St. Jones. All the underground hits.
All Flamin' Groovies tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Yazoo,
Jeff Mills,
Tom Boy,
World's Most,
Prince Buster,
Popol Vuh,
Ponytail,
Scion,
Radiohead,
Lebanon Hanover,
Pole,
the Bar-Kays,
Y Pants,
New Age Steppers,
Visage,
Marc Almond,
Donny Hathaway,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sight & Sound,
Minor Threat,
Monolake,
The J.B.'s,
Angry Samoans,
Lungfish,
D'Angelo,
Steve Hackett,
The Happenings,
The Names,
Depeche Mode,
Hasil Adkins,
The Motions,
Symarip,
Jandek,
Banda Bassotti,
Wings,
Roxy Music,
Flash Fearless,
Accadde A,
Bang on a Can All-Stars,
Gil Scott-Heron & Brian Jackson,
De La Soul & Jungle Brothers,
Sound Behaviour,
Graham Central Station,
Eve St. Jones,
Warsaw,
The Men They Couldn't Hang,
Anakelly,
Curtis Mayfield,
Vainqueur,
Vaughan Mason & Crew,
Vladislav Delay,
The Kinks,
The Wake,
ABC,
ABBA,
Massinfluence,
Gian Franco Pienzio,
Matthew Bourne,
Cecil Taylor,
Pantaleimon,
Bobby Sherman,
The Grass Roots,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.