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 Brunei and from Milan.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Toronto.
I'm losing my edge to the art-school Philadelphia 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare 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 Soulsonic Force to the grime 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 Television. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Sly & The Family Stone,
The Toasters,
The Beau Brummels,
Albert Ayler,
Main Source,
The Doobie Brothers,
the Swans,
Fatback Band,
Ornette Coleman,
Fugazi,
Crooked Eye,
Peter and Kerry,
Rakim,
Matthew Bourne,
Deutsch Amerikanische Freundschaft,
Toni Rubio,
The Neon Judgement,
Slick Rick,
Jeff Mills,
Bang On A Can,
Siouxsie and the Banshees,
David Axelrod,
The Smiths,
Terry Callier,
Section 25,
Altered Images,
Prince Buster,
X-101,
Grey Daturas,
World's Most,
Chrome,
Donald Byrd,
Roxy Music,
Hardrive,
Yaz,
Kaleidoscope,
The Invisible,
Fifty Foot Hose,
Flipper,
Boz Scaggs,
The Golliwogs,
New Order,
The Shadows of Knight,
David Bowie,
Peter & Gordon,
The Music Machine,
Nation of Ulysses,
Crispy Ambulance,
Soft Cell,
The Evens,
The American Breed,
Y Pants,
Nick Fraelich,
The Tremeloes,
The Barracudas,
Amon Düül,
Lou Christie,
U.S. Maple,
Pagans,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.