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 Jakarta.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Bremen and Seoul.
I'm losing my edge to the art-school Copenhagen 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Symarip to the electroclash kids.
I played it at CBGB's.
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 Bill Wells. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every Soft Machine 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Manfred Mann's Earth Band record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
The West Coast Pop Art Experimental Band,
Black Moon,
The Monks,
Tommy Roe,
Pagans,
Technova,
The Wake,
Mars,
The Pretty Things,
Isaac Hayes,
Skriet,
Throbbing Gristle,
Gabor Szabo,
Jerry's Kids,
FM Einheit,
Pierre Henry,
Wings,
Slave,
The Cure,
Parry Music,
Scrapy,
The Gun Club,
Echo & the Bunnymen,
Yaz,
Janne Schatter,
Angry Samoans,
The Alarm Clocks,
Brothers Johnson,
Lucky Dragons,
John Cale,
Fela Kuti,
Anthony Braxton,
Stiv Bators,
Kings Of Tomorrow,
The Leaves,
Siglo XX,
Peter and Kerry,
The United States of America,
June Days,
Desert Stars,
The Shadows of Knight,
Basic Channel,
Strawberry Alarm Clock,
Derrick Morgan,
Skaos,
Idris Muhammad,
The Detroit Cobras,
E-Dancer,
Darondo,
Al Stewart,
Don Cherry,
Gil Scott-Heron & Brian Jackson,
Roxette,
Grandmaster Flash and the Furious Five,
The Slits,
CMW,
Masters at Work,
Major Organ And The Adding Machine,
Captain Beefheart & His Magic Band,
David McCallum,
Nico,
Public Image Ltd.,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.