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 Nicaragua and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1976.
I'm losing my edge.
To all the kids in Salvador and Shanghai.
I'm losing my edge to the art-school Mexico City 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 organ 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 The Techniques to the jazz 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 Marcia Griffiths. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Susan Cadogan,
Stiv Bators,
Y Pants,
Zero Boys,
Robert Hood,
Lou Reed & John Cale,
The Peanut Butter Conspiracy,
Ultra Naté,
Black Flag,
Joy Division,
Oneida,
New York Dolls,
Gerry Rafferty,
Nas,
the Soft Cell,
The Residents,
Desert Stars,
Basic Channel,
Strawberry Alarm Clock,
The Durutti Column,
E-Dancer,
48th St. Collective,
Von Mondo,
Sparks,
Don Cherry,
Gang Gang Dance,
Yellowson,
Swell Maps,
Nick Fraelich,
Country Joe & The Fish,
Lou Christie,
The Names,
Frankie Knuckles,
The Fuzztones,
John Foxx,
Roy Ayers Ubiquity,
Surgeon,
Bush Tetras,
Electric Prunes,
Lee Hazlewood,
Dark Day,
The Modern Lovers,
Ash Ra Tempel,
Country Teasers,
Gian Franco Pienzio,
Pulsallama,
Jeff Mills,
Depeche Mode,
Little Man,
Talk Talk,
The Fall,
Delon & Dalcan,
Parry Music,
The Blackbyrds,
Tomorrow,
T. Rex,
Dr. Dre and Snoop Doggy Dog,
Eric Dolphy,
Moby Grape,
Radiopuhelimet,
Gary Puckett & The Union Gap,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.