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 Namibia and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Portland and Hong Kong.
I'm losing my edge to the art-school Madrid 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Dual Sessions to the funk 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 L. Decosne. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Panda Bear,
Sound Behaviour,
Terrestrial Tones,
Jeru the Damaja,
DJ Style,
Cabaret Voltaire,
Amazonics,
Talk Talk,
The Men They Couldn't Hang,
Wighnomy Brothers & Robag Wruhme,
Nas,
Red Lorry Yellow Lorry,
The Monks,
Agent Orange,
Rosa Yemen,
Neil Young,
Tim Buckley,
Negative Approach,
Patti Smith,
Babytalk,
Sad Lovers and Giants,
Siouxsie and the Banshees,
Notorious Big And Bone Thugs,
Radiopuhelimet,
Donald Byrd,
Symarip,
Kurtis Blow,
Oppenheimer Analysis,
Godley & Creme,
David McCallum,
a-ha,
X-101,
Dawn Penn,
E-Dancer,
Alison Limerick,
Los Fastidios,
Swell Maps,
The Buckinghams,
Electric Light Orchestra,
The Seeds,
Lonnie Liston Smith,
The Doors,
Graham Central Station,
Kerri Chandler,
Dual Sessions,
Half Japanese,
Teenage Jesus and the Jerks,
Barclay James Harvest,
Idris Muhammad,
The Electric Prunes,
Richard Hell and the Voidoids,
A Flock of Seagulls,
Newcleus,
Japan,
Main Source,
the Fania All-Stars,
Cecil Taylor,
Rites of Spring,
Iggy Pop,
Metal Thangz,
Deutsch Amerikanische Freundschaft,
The Skatalites,
Super Lover Cee & Casanova Rud,
Cal Tjader, Cal Tjader, Cal Tjader, Cal Tjader.
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.