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 Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Bologna and Philadelphia.
I'm losing my edge to the art-school Jakarta 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Supertramp to the crunk 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 The Flesh Eaters. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every June Days record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Andrew Hill,
Cybotron,
Albert Ayler,
Man Eating Sloth,
Q and Not U,
Index,
Charles Mingus,
The Five Americans,
Camron Feat. Jay Z And Juelz,
Vladislav Delay,
Pierre Henry,
Colin Newman,
Godley & Creme,
Kool G Rap & DJ Polo,
Maleditus Sound,
Althea and Donna,
Graham Central Station,
Camberwell Now,
Selector Dub Narcotic,
Ultravox,
Sandy B,
Mr. Review,
Liaisons Dangereuses,
Yellowson,
Cluster,
Black Pus,
Louis and Bebe Barron,
Orchestral Manoeuvres in the Dark,
The J.B.'s,
Curtis Mayfield,
Lightning Bolt,
Marvin Gaye,
DeepChord presents Echospace,
Delon & Dalcan,
Boredoms,
Lebanon Hanover,
Ralphi Rosario,
Kenny Larkin,
Flash Fearless,
Excepter,
Faust,
Marcia Griffiths,
Agent Orange,
Chris & Cosey,
Glambeats Corp.,
Massinfluence,
Ajijia Myrayebe,
Sunsets and Hearts,
Parry Music,
The Dirtbombs,
Eurythmics,
Harry Pussy,
Deepchord,
Joe Finger,
The Alarm Clocks,
Captain Beefheart & His Magic Band,
Popol Vuh,
Guru Guru,
MDC,
Johnny Clarke,
DNA,
Radiohead, Radiohead, Radiohead, Radiohead.
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.