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 Afghanistan and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Manila 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 808 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 Minor Threat to the jazz 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 Ponytail. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Black Pus 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Au Pairs record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Soft Machine,
Main Source,
Panda Bear,
Agent Orange,
The Monks,
Dorothy Ashby,
Steve Hackett,
The Cowsills,
Justin Hinds & The Dominoes,
Rhythm & Sound,
Traffic Nightmare,
Bronski Beat,
Scion,
Todd Rundgren,
Lyres,
Derrick Morgan,
T. Rex,
Fear,
Ash Ra Tempel,
Model 500,
Johnny Clarke,
The Peanut Butter Conspiracy,
Gil Scott-Heron & Brian Jackson,
Joy Division,
The Standells,
Malaria!,
Bluetip,
Lou Reed & John Cale,
Swell Maps,
Todd Terry,
Stereo Dub,
CMW,
Matthew Bourne,
Quantec,
Eric Dolphy,
Eden Ahbez,
Soft Cell,
Mars,
The Five Americans,
Art Ensemble Of Chicago,
Cluster,
Ultimate Spinach,
K-Klass,
Chrome,
Gang of Four,
Neil Young,
Magma,
Deepchord,
F. McDonald,
Television,
Tom Boy,
Chris Corsano,
The Seeds,
Porter Ricks,
Radio Birdman,
Ken Boothe,
Colin Newman,
Derrick May,
Negative Approach,
Pantytec, Pantytec, Pantytec, Pantytec.
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.