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 Jordan and from London.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Toronto 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum 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 Marine Girls to the grunge kids.
I played it at the Spitz.
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 the Swans. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every The Dave Clark Five record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T. Rex,
Art Ensemble Of Chicago,
Marshall Jefferson,
Qualms,
Matthew Bourne,
Saccharine Trust,
Tom Boy,
Pete Rock & C.L. Smooth,
Animal Collective,
Johnny Osbourne,
The Beau Brummels,
Agent Orange,
Bobby Hutcherson,
Reuben Wilson,
Beasts of Bourbon,
Leonard Cohen,
Sticky Fingaz feat. Raekwon,
Skarface,
Urselle,
Soft Cell,
Peter & Gordon,
Soft Machine,
Bluetip,
Andrew Hill,
Marcia Griffiths,
The Cramps,
Aloha Tigers,
Wolf Eyes,
Section 25,
The Fuzztones,
the Normal,
Notorious Big And Bone Thugs,
Aural Exciters,
Monolake,
Joensuu 1685,
Bob Dylan,
Buzzcocks,
Suicide,
Sugar Minott,
Symarip,
Von Mondo,
Warren Ellis,
Stockholm Monsters,
Inner City,
Newcleus,
Q and Not U,
Carl Craig,
Super Lover Cee & Casanova Rud,
Marc Almond,
Agitation Free,
Donny Hathaway,
Connie Case,
David McCallum,
Rowland S Howard / Lydia Lunch,
Q65,
James White and The Blacks,
Albert Ayler,
Sonny Sharrock,
Blake Baxter,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.