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 Yemen and from Calgary.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Manchester and New York.
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 Michael McDonald 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 Smiths to the grunge kids.
I played it at the Hacienda.
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 Gabor Szabo. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every The Modern Lovers 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Rosa Yemen,
Cecil Taylor,
Supertramp,
Lee Hazlewood,
Larry & the Blue Notes,
Faraquet,
Sandy B,
Oblivians,
The Sound,
Matthew Bourne,
Kango’s Stein Massive,
Avey Tare,
Crispian St. Peters,
The Men They Couldn't Hang,
This Heat,
The Monochrome Set,
T. Rex,
Chris Corsano,
David Bowie,
X-102,
Harmonia,
Mantronix,
Bobby Sherman,
Visage,
Porter Ricks,
Harpers Bizarre,
Pulsallama,
Gang Gang Dance,
Man Eating Sloth,
Ten City,
Gichy Dan,
Minor Threat,
Joensuu 1685,
Oppenheimer Analysis,
Newcleus,
The Names,
The Black Dice,
Neil Young,
Roxette,
Yazoo,
Gary Puckett & The Union Gap,
The Jesus and Mary Chain,
Swans,
Bobby Byrd,
Captain Beefheart & His Magic Band,
The Mighty Diamonds,
the Swans,
Hasil Adkins,
Steve Hackett,
Nirvana,
The Shadows of Knight,
Soul II Soul,
Gong,
La Düsseldorf,
Rekid,
Jesper Dahlbäck,
Notorious BIG live in Amsterdam,
MC5,
Röyhkä ja Rättö ja Lehtisalo,
Stockholm Monsters,
The Pretty Things,
Electric Light Orchestra,
The Slits, The Slits, The Slits, The Slits.
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.