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 Peru and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Spokane 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 Saints to the grime 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 June of 44. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal jazz 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Matthew Halsall,
The Fall,
Orchestral Manoeuvres in the Dark,
PIL,
Charles Mingus,
Flamin' Groovies,
The Walker Brothers,
Soul II Soul,
Sugar Minott,
The Black Dice,
Ultravox,
Nas,
Massinfluence,
Robert Hood,
Whodini,
Pere Ubu,
the Soft Cell,
Stockholm Monsters,
Lightning Bolt,
Minor Threat,
Vladislav Delay,
Tears for Fears,
Aaron Thompson,
Newcleus,
Popol Vuh,
Ultramagnetic MC's,
The Fugs,
The Leaves,
KRS-One,
Bootsy's Rubber Band,
Lou Reed & Metallica,
Iggy Pop,
The Last Poets,
Hoover,
Motorama,
Ornette Coleman,
Lizzy Mercier Descloux,
Lou Reed & John Cale,
Todd Terry,
Moss Icon,
Alison Limerick,
Sad Lovers and Giants,
Peter and Kerry,
Black Sheep,
Magma,
Mars,
The Kinks,
Kango’s Stein Massive,
Sight & Sound,
UT,
Lafayette Afro Rock Band,
David Axelrod,
CMW,
Sunsets and Hearts,
Rhythm & Sound,
Amon Düül II,
Fort Wilson Riot,
Captain Beefheart & His Magic Band,
Josef K,
De La Soul & Jungle Brothers,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.