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 Equatorial Guinea and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Banda Bassotti to the punk 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 Thee Headcoats. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Dual Sessions 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 '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Henry Cow,
Aswad,
Dark Day,
The Residents,
David McCallum,
Amon Düül,
Monks,
Interpol,
Jerry Gold Smith,
Country Joe & The Fish,
Minnie Riperton,
The Sound,
The Associates,
The Music Machine,
Marshall Jefferson,
The Cramps,
Young Marble Giants,
Todd Terry,
Livin' Joy,
Beasts of Bourbon,
Bluetip,
Scott Walker,
Wings,
Nas,
the Soft Cell,
Grey Daturas,
L. Decosne,
The Shadows of Knight,
Public Image Ltd.,
Avey Tare & Kría Brekkan,
Neil Young & Crazy Horse,
Lower 48,
Desert Stars,
The Offenders,
Red Lorry Yellow Lorry,
The Searchers,
Basic Channel,
B.T. Express,
Grandmaster Flash,
Lonnie Liston Smith,
Eric B and Rakim,
Toni Rubio,
Chris Corsano,
Gian Franco Pienzio,
Rotary Connection,
Terror Squad Feat. Camron,
New Order,
The J.B.'s,
Funkadelic,
Warsaw,
Kevin Saunderson,
Infiniti,
Röyhkä ja Rättö ja Lehtisalo,
The Red Krayola,
Sexual Harrassment,
James White and The Blacks,
Qualms,
Suicide,
Joensuu 1685,
Deadbeat,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.