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 Macedonia and from Delhi.
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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Salvador.
I'm losing my edge to the art-school Johannesburg 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 1976 at the first Chic practice in a loft in New York.
I was working on the 808 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 Ohio Players to the grunge 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 Sugar Minott. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
David Axelrod,
Thee Headcoats,
Saccharine Trust,
Terrestrial Tones,
Country Joe & The Fish,
Half Japanese,
Amon Düül,
The Fortunes,
H. Thieme,
Neil Young & Crazy Horse,
Magazine,
Brass Construction,
Kerri Chandler,
Kenny Larkin,
Neu!,
The Sound,
Outsiders,
Lafayette Afro Rock Band,
Moebius,
Whodini,
Little Man,
UT,
Minutemen,
The Gladiators,
Lyres,
Crime,
The Remains,
Yusef Lateef,
Negative Approach,
Black Pus,
Davy DMX,
Joensuu 1685,
Banda Bassotti,
Scion,
Oneida,
Franke,
Spandau Ballet,
Schoolly D,
The Fall,
Barclay James Harvest,
Dennis Brown,
The Residents,
Shoche,
Unrelated Segments,
E-Dancer,
Scott Walker + Sunn O))),
Hoover,
Amon Düül II,
Henry Cow,
Sun Ra Arkestra,
Susan Cadogan,
Technova,
Adolescents,
Jacob Miller,
The Pop Group,
Colin Newman,
Supertramp,
The Flesh Eaters,
Sad Lovers and Giants,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.