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 Egypt and from New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school Stockholm 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Barbara Tucker to the disco 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 The Peanut Butter Conspiracy. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Sonic Youth 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jerry's Kids record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Bang on a Can All-Stars,
The West Coast Pop Art Experimental Band,
Scion,
Godley & Creme,
Wolf Eyes,
Kool Moe Dee,
John Holt,
The United States of America,
Minny Pops,
The Young Rascals,
The Tremeloes,
Japan,
Sight & Sound,
Dual Sessions,
Brass Construction,
Model 500,
Darondo,
The Offenders,
The Motions,
Cheater Slicks,
Sad Lovers and Giants,
The Searchers,
Alphaville,
Minutemen,
The Slackers,
Siglo XX,
A Flock of Seagulls,
E-Dancer,
Oneida,
Tres Demented,
Depeche Mode,
The Grass Roots,
Kurtis Blow,
The Gories,
Gil Scott-Heron & Brian Jackson,
Lizzy Mercier Descloux,
David Bowie,
Interpol,
Nick Fraelich,
Sunsets and Hearts,
The Walker Brothers,
Ultravox,
Heaven 17,
Ultramagnetic MC's,
The Flesh Eaters,
Tom Boy,
the Bar-Kays,
Peter and Kerry,
Mark Hollis,
Sarah Menescal,
Qualms,
The Toasters,
The Misunderstood,
Sparks,
Scientists,
Altered Images,
Fat Boys,
Ludus,
David Axelrod,
Lonnie Liston Smith,
Man Parrish,
X-101, X-101, X-101, X-101.
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.