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 Estonia and from Cairo.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Manila and Mexico City.
I'm losing my edge to the art-school Madrid 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Mark Hollis to the electroclash kids.
I played it at the Spitz.
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 Pantaleimon. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Tomorrow record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Das Ding,
Todd Terry,
Rufus Thomas,
World's Most,
New York Dolls,
Underground Resistance,
Qualms,
Jeff Lynne,
Rahsaan Roland Kirk,
Rakim,
The Zeros,
The Remains,
Masters at Work,
Swell Maps,
Joe Smooth,
Swans,
Los Fastidios,
Surgeon,
Peter & Gordon,
Brothers Johnson,
Lower 48,
Rosa Yemen,
Gang Green,
Clear Light,
The Dead C,
The Doobie Brothers,
Roy Ayers Ubiquity,
Roxette,
John Coltrane,
Connie Case,
Angry Samoans,
New Age Steppers,
a-ha,
Grandmaster Flash,
The Smoke,
Television Personalities,
New Order,
Fluxion,
Vladislav Delay,
Young Marble Giants,
Skriet,
Juan Atkins,
Faraquet,
The Slits,
Siglo XX,
The Star Department,
X-102,
Pulsallama,
Organ,
Rhythim Is Rhythim,
Eli Mardock,
Avey Tare & Kría Brekkan,
Lalo Schifrin,
The Stooges,
ABC,
Zapp,
Johnny Osbourne,
The Move,
Bobby Womack,
John Foxx,
Anakelly,
Gil Scott-Heron & Brian Jackson,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.