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 Lebanon and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Tehran 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 harpsichord 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 The Shadows of Knight to the funk kids.
I played it at Trash.
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 Suburban Knight. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Television Personalities,
Anthony Braxton,
Aaron Thompson,
Ludus,
Todd Rundgren,
Livin' Joy,
A Certain Ratio,
David McCallum,
Quadrant,
The Wake,
Röyhkä ja Rättö ja Lehtisalo,
The Invisible,
Junior Murvin,
Ajijia Myrayebe,
kango's stein massive,
The Fire Engines,
Faust,
Hashim,
Black Bananas,
Rhythim Is Rhythim,
CMW,
Electric Prunes,
Derrick Morgan,
The Alarm Clocks,
Heaven 17,
The Blackbyrds,
Oppenheimer Analysis,
Thee Headcoats,
The Fortunes,
Siglo XX,
Bush Tetras,
Pantaleimon,
The Busters,
Sister Nancy,
Swell Maps,
Tears for Fears,
Red Lorry Yellow Lorry,
Simply Red,
Bill Wells,
Wire,
Louis and Bebe Barron,
Silicon Teens,
Tom Boy,
Amon Düül II,
Nirvana,
Icehouse,
The Remains,
Mo-Dettes,
Nick Fraelich,
Boredoms,
Donny Hathaway,
Matthew Bourne,
The New Christs,
Robert Hood,
Pharoah Sanders,
Mars,
Beasts of Bourbon,
Yaz,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.