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 Luxembourg and from Manila.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Spokane and Winnipeg.
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 theremin sounds with much patience.
I was there when Nile Rodgers 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 Outsiders to the rock 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 Dirtbombs. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Fort Wilson Riot 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Grandmaster Flash and the Furious Five,
The Doors,
Nick Cave & The Bad Seeds,
Bill Near,
Sun City Girls,
Wire,
World's Most,
The Knickerbockers,
Fluxion,
Oneida,
Bizarre Inc.,
Main Source,
Jimmy McGriff,
Wolf Eyes,
Symarip,
Crooked Eye,
Chris Corsano,
Deepchord,
Lonnie Liston Smith,
The Index,
The Cramps,
Todd Rundgren,
Throbbing Gristle,
Rekid,
Peter & Gordon,
Monolake,
Kango’s Stein Massive,
The Durutti Column,
Spoonie Gee,
Kerri Chandler,
Dorothy Ashby,
Anthony Braxton,
Eli Mardock,
Lalo Schifrin,
F. McDonald,
Erasure,
Y Pants,
Magma,
Guru Guru,
Zapp,
Panda Bear,
Japan,
MDC,
The Monks,
Deadbeat,
The Blues Magoos,
The Moleskins,
E-Dancer,
Donny Hathaway,
Larry & the Blue Notes,
Tubeway Army,
Strawberry Alarm Clock,
Sticky Fingaz feat. Raekwon,
Be Bop Deluxe,
Delta 5,
Max Romeo,
Clear Light,
Popol Vuh,
Scott Walker,
Marshall Jefferson,
The New Christs, The New Christs, The New Christs, The New Christs.
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.