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 Venezuela and from Bologna.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Calgary.
I'm losing my edge to the art-school Salvador 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Traffic Nightmare to the rock kids.
I played it at the Hacienda.
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 Reagan Youth. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Arab on Radar,
Animal Collective,
Masters at Work,
Q and Not U,
Joy Division,
Deutsch Amerikanische Freundschaft,
Funkadelic,
Theoretical Girls,
Henry Cow,
Röyhkä ja Rättö ja Lehtisalo,
Hashim,
These Immortal Souls,
Michelle Simonal,
Connie Case,
The Alarm Clocks,
Isaac Hayes,
Average White Band,
A Flock of Seagulls,
Thompson Twins,
Wolf Eyes,
Lyres,
X-101,
Juan Atkins,
Chrome,
Parry Music,
Slave,
The West Coast Pop Art Experimental Band,
Neil Young,
Young Marble Giants,
Television Personalities,
Kango’s Stein Massive,
Orchestral Manoeuvres in the Dark,
Pantaleimon,
Terrestrial Tones,
Blancmange,
Gang Green,
Camouflage,
Wighnomy Brothers & Robag Wruhme,
Don Cherry,
The Raincoats,
Yaz,
Soft Machine,
Grey Daturas,
Adolescents,
Ronnie Foster,
The J.B.'s,
Amon Düül,
Lungfish,
Duran Duran,
The Dirtbombs,
The Mojo Men,
The Smiths,
The Star Department,
Rakim,
MC5,
Cabaret Voltaire,
The Royal Family And The Poor,
The Evens,
Bobby Sherman,
Tommy Roe,
The Busters, The Busters, The Busters, The Busters.
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.