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 Sri Lanka and from Jakarta.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Saccharine Trust to the disco kids.
I played it at the Crocodile.
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 Soulsonic Force. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal disco 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Sexual Harrassment,
Idris Muhammad,
Tommy Roe,
Jimmy McGriff,
The Grass Roots,
Von Mondo,
The Wake,
Freddie Wadling,
The Trojans,
Erykah Badu,
Kaleidoscope,
Electric Prunes,
Cal Tjader,
Kool Moe Dee,
Supertramp,
Louis and Bebe Barron,
The Fuzztones,
The Barracudas,
Infiniti,
Delon & Dalcan,
The Neon Judgement,
Flipper,
The Doobie Brothers,
Prince Buster,
Q65,
John Foxx,
Davy DMX,
Moss Icon,
Pierre Henry,
Donny Hathaway,
Pole,
The Fire Engines,
Beasts of Bourbon,
Rapeman,
The Blues Magoos,
Masters at Work,
Pharoah Sanders,
Bootsy's Rubber Band,
X-101,
Echo & the Bunnymen,
Pantytec,
Be Bop Deluxe,
Rod Modell,
Amazonics,
Reagan Youth,
The Red Krayola,
Mantronix,
Leonard Cohen,
Agitation Free,
The Gladiators,
Neu!,
Johnny Osbourne,
the Human League,
Alice Coltrane,
X-Ray Spex,
Steve Hackett,
Lalann,
Donald Byrd,
Schoolly D,
Lou Reed,
Fugazi,
June of 44,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.