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 Yemen and from Calgary.
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 Mumbai and Madrid.
I'm losing my edge to the art-school Taipei 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 1968 at the first Can practice in a loft in Cologne.
I was working on the oboe 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 Letta Mbulu to the grunge 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 the Soft Cell. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Tropical Tobacco,
Average White Band,
Country Teasers,
Todd Terry,
The Standells,
Yaz,
The Stooges,
Junior Murvin,
Goldenarms,
Gian Franco Pienzio,
The Doors,
Ohio Players,
Harpers Bizarre,
The Birthday Party,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fuzztones,
Suicide,
Gerry Rafferty,
Groovy Waters,
Thinking Fellers Union Local 282,
Lindisfarne,
Sandy B,
Ten City,
Simply Red,
B.T. Express,
Fela Kuti,
Amon Düül,
Livin' Joy,
Oneida,
Grandmaster Flash and the Furious Five,
JFA,
The Pretty Things,
Talk Talk,
The Names,
Stereo Dub,
Joe Finger,
Soft Cell,
Maleditus Sound,
The Blues Magoos,
The Tremeloes,
Warsaw,
Crime,
The Offenders,
The Techniques,
Boogie Down Productions,
Unwound,
Ituana,
The Dead C,
CMW,
Drexciya,
Cal Tjader,
Intrusion,
Ajijia Myrayebe,
Bob Dylan,
Louis and Bebe Barron,
Mission of Burma,
Aaron Thompson,
Roxy Music,
Pole,
Ponytail,
Jawbox, Jawbox, Jawbox, Jawbox.
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.