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 Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Shanghai 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 sitar sounds with much patience.
I was there when David Bowie 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 Lee Hazlewood to the grime kids.
I played it at the Astoria.
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 Ajijia Myrayebe. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Joe Smooth,
The Seeds,
Urselle,
Ohio Players,
Bobby Hutcherson,
Deepchord,
The Leaves,
Severed Heads,
Barclay James Harvest,
The Gories,
Terrestrial Tones,
Stockholm Monsters,
Agitation Free,
Joe Finger,
The Fuzztones,
Ash Ra Tempel,
The Zeros,
Jawbox,
Derrick Morgan,
Tubeway Army,
The Stooges,
The Doors,
Be Bop Deluxe,
Barbara Tucker,
Hashim,
Deutsch Amerikanische Freundschaft,
Schoolly D,
Yusef Lateef,
Drexciya,
Goldenarms,
David McCallum,
John Holt,
Hardrive,
Inner City,
The Monks,
DNA,
Andrew Hill,
48th St. Collective,
Beasts of Bourbon,
Basic Channel,
Röyhkä ja Rättö ja Lehtisalo,
Iggy Pop,
Arcadia,
Cluster,
The Fugs,
Unrelated Segments,
Joy Division,
The Cosmic Jokers,
Slick Rick,
Boogie Down Productions,
Metal Thangz,
Public Enemy,
Minor Threat,
Brass Construction,
Roy Ayers Ubiquity,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.