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 Australia and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school Lagos 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 clarinet 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 Stooges to the rock kids.
I played it at the Hacienda.
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 Aural Exciters. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Beasts of Bourbon 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 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
Barry Ungar,
Television Personalities,
Nils Olav,
Susan Cadogan,
Lakeside,
Lee Hazlewood,
the Association,
World's Most,
Grey Daturas,
Jawbox,
Gian Franco Pienzio,
Lyres,
Qualms,
Howard Jones,
Rites of Spring,
Teenage Jesus and the Jerks,
Marc Romboy vs. Booka Shade,
the Soft Cell,
Morten Harket,
Franke,
London Community Gospel Choir,
Ash Ra Tempel,
New Age Steppers,
Super Lover Cee & Casanova Rud,
Tears for Fears,
Henry Cow,
The Music Machine,
T.S.O.L.,
Wire,
Ludus,
Maleditus Sound,
Radio Birdman,
Bill Near,
Reagan Youth,
Slave,
The Vogues,
The Red Krayola,
Skaos,
Camron Feat. Memphis Bleek And Beenie Seigel,
Quando Quango,
Lower 48,
Rosa Yemen,
Bobbi Humphrey,
Absolute Body Control,
Marc Almond,
Justin Hinds & The Dominoes,
Manfred Mann's Earth Band,
New York Dolls,
Danielle Patucci,
Bobby Sherman,
The Mojo Men,
Art Ensemble Of Chicago,
Gregory Isaacs,
Khruangbin,
Black Moon,
Animal Collective,
The Invisible,
Sound Behaviour,
Cal Tjader,
The Fire Engines,
The Standells,
Stetsasonic,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.