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 Solomon Islands and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when Holger Czukay 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 The Mummies to the jazz kids.
I played it at CBGB's.
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 The Durutti Column. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
DJ Style,
Khruangbin,
ABBA,
The Saints,
Röyhkä ja Rättö ja Lehtisalo,
Stockholm Monsters,
Cabaret Voltaire,
Morten Harket,
The Happenings,
Ronan,
Echo & the Bunnymen,
Von Mondo,
Masters at Work,
Unrelated Segments,
Surgeon,
Heavy D & The Boyz,
Ajijia Myrayebe,
Black Flag,
Frankie Knuckles,
Radiopuhelimet,
Deadbeat,
The Tremeloes,
Lucky Dragons,
The Birthday Party,
Sam Rivers,
Jerry Gold Smith,
Motorama,
Bill Wells,
The Durutti Column,
Agent Orange,
the Sonics,
the Slits,
Soulsonic Force,
Qualms,
Strawberry Alarm Clock,
Delon & Dalcan,
Slick Rick,
The Five Americans,
Soft Machine,
Traffic Nightmare,
Mars,
Eddi Front,
Tears for Fears,
Soul Sonic Force,
Guru Guru,
Lou Reed & Metallica,
The Walker Brothers,
Jesper Dahlbäck,
Malaria!,
The New Christs,
Lindisfarne,
Jandek,
Pantaleimon,
World's Most,
Drexciya,
Joyce Sims,
The Moody Blues,
Bronski Beat,
The Sound,
Laurel Aitken,
Art Ensemble Of Chicago,
The Slackers, The Slackers, The Slackers, The Slackers.
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.