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 Lithuania and from Tokyo.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
I'm losing my edge to the art-school Toronto 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 marimba 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 Fuzztones to the jazz 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 Public Image Ltd.. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
Alison Limerick,
Crispian St. Peters,
Marshall Jefferson,
Mr. Review,
Prince Buster,
Public Enemy,
Gabor Szabo,
Deepchord,
Pole,
The Dead C,
Jawbox,
One Last Wish,
The Chocolate Watch Band,
Ronnie Foster,
Kings Of Tomorrow,
Robert Hood,
Barclay James Harvest,
a-ha,
Jesper Dahlbäck,
Schoolly D,
Bob Dylan,
Bluetip,
Easy Going,
The Music Machine,
Richard Hell and the Voidoids,
Kayak,
Funky Four + One,
The Jesus and Mary Chain,
Avey Tare & Kría Brekkan,
Bad Manners,
X-101,
KRS-One,
Los Fastidios,
The Divine Comedy,
Delta 5,
Yellowson,
Flipper,
Popol Vuh,
The Sonics,
The Wake,
Lou Reed,
Massinfluence,
Japan,
The Sound,
Crime,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Association,
Fear,
Eve St. Jones,
In Retrospect,
David Axelrod,
the Soft Cell,
Ronan,
Warren Ellis,
Yusef Lateef,
the Human League,
Robert Wyatt,
The Fuzztones,
Parry Music, Parry Music, Parry Music, Parry Music.
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.