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 Liberia and from Johannesburg.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Columbus and Manila.
I'm losing my edge to the art-school Delhi 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb 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 Q65 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 D'Angelo. All the underground hits.
All Surgeon tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
The Doors,
the Sonics,
One Last Wish,
Procol Harum,
Nik Kershaw,
Susan Cadogan,
Oblivians,
The Cramps,
June of 44,
KRS-One,
Visage,
Man Parrish,
Joey Negro,
Oppenheimer Analysis,
Fela Kuti,
T. Rex,
Alphaville,
The Human League,
Neil Young & Crazy Horse,
Sonic Youth,
Eric B and Rakim,
ABC,
Los Fastidios,
The American Breed,
Selector Dub Narcotic,
Symarip,
Inner City,
Colin Newman,
Brand Nubian,
Negative Approach,
Rapeman,
Malaria!,
Q65,
Don Cherry,
Glenn Branca,
Jandek,
Bronski Beat,
Jeff Mills,
The Gun Club,
Joe Smooth,
Unrelated Segments,
Michelle Simonal,
Man Eating Sloth,
Donald Byrd,
Ornette Coleman,
Peter and Kerry,
Vladislav Delay,
Max Romeo,
Desert Stars,
Bad Manners,
Absolute Body Control,
Sister Nancy,
Erykah Badu,
Amon Düül II,
Saccharine Trust,
Wally Richardson,
The West Coast Pop Art Experimental Band,
L. Decosne,
Jawbox,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.