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 Greece and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Taipei.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin 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 Basic Channel to the techno 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 Louis and Bebe Barron. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Nas 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Oppenheimer Analysis,
The Gun Club,
The Selecter,
Blake Baxter,
Minnie Riperton,
LL Cool J,
The Pop Group,
Jerry's Kids,
James White and The Blacks,
The United States of America,
Ludus,
Selector Dub Narcotic,
Mo-Dettes,
Franke,
Lou Christie,
Malaria!,
The Human League,
Black Flag,
Bronski Beat,
Amazonics,
Bang On A Can,
Angry Samoans,
Heavy D & The Boyz,
Erasure,
Negative Approach,
Fluxion,
The Offenders,
Los Fastidios,
The Cure,
Cluster,
The Detroit Cobras,
Zero Boys,
The Music Machine,
Danielle Patucci,
Mr. Review,
Suburban Knight,
Ajijia Myrayebe,
June Days,
Public Image Ltd.,
Hot Snakes,
Leonard Cohen,
Kevin Saunderson,
Black Moon,
Gian Franco Pienzio,
The Wake,
The Doors,
Gregory Isaacs,
Shoche,
The Sisters of Mercy,
Roger Hodgson,
Qualms,
Gichy Dan,
Con Funk Shun,
The Names,
The Young Rascals,
Black Bananas,
Dr. Dre and Snoop Doggy Dog,
Lakeside,
Iggy Pop,
Avey Tare & Kría Brekkan,
Mars,
Kauko Röyhkä ja Narttu,
Marvin Gaye, Marvin Gaye, Marvin Gaye, Marvin Gaye.
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.