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 Bologna.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Spokane and Winnipeg.
I'm losing my edge to the art-school London 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe 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 Iggy Pop to the disco 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 Lower 48. All the underground hits.
All One Last Wish tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review 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?
Guru Guru,
Lyres,
Larry & the Blue Notes,
the Swans,
Gil Scott-Heron & Brian Jackson,
Ornette Coleman,
Crash Course in Science,
The Move,
Sparks,
KRS-One,
The Cowsills,
Duran Duran,
Liliput,
Rod Modell,
Boz Scaggs,
Franke,
Los Fastidios,
Tommy Roe,
Vainqueur,
Jawbox,
Pharaoh Sanders and the Fire Engines,
the Human League,
Skriet,
Cameo,
Absolute Body Control,
Bootsy's Rubber Band,
T.S.O.L.,
Angels of Light & Akron/Family,
MC5,
Pussy Galore,
Derrick Morgan,
Mars,
The Selecter,
Amon Düül II,
Wire,
Q and Not U,
Delon & Dalcan,
Stetsasonic,
Eden Ahbez,
Sugar Minott,
Byron Stingily,
Dark Day,
Kaleidoscope,
Mo-Dettes,
Bob Dylan,
Roy Ayers Ubiquity,
Warsaw,
Beasts of Bourbon,
Albert Ayler,
Bang on a Can All-Stars,
Eurythmics,
The Victims,
Stiv Bators,
Bill Near,
Rosa Yemen,
Ronnie Foster,
The Motions,
Saccharine Trust,
Eve St. Jones,
Bobby Sherman,
Kerri Chandler,
Josef K,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.