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 Morocco and from Tehran.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lyon and Delhi.
I'm losing my edge to the art-school Lagos 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the theremin 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 Man Parrish to the grime kids.
I played it at Cafe Wha.
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 Saints. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
The Martian,
Khruangbin,
Jimmy McGriff,
Infiniti,
Can,
Bizarre Inc.,
The Associates,
Vainqueur,
Black Sheep,
The Gladiators,
David Axelrod,
Jacques Brel,
Monolake,
T. Rex,
Bobbi Humphrey,
Mo-Dettes,
Gregory Isaacs,
Eddi Front,
Crooked Eye,
Lonnie Liston Smith,
Curtis Mayfield,
Connie Case,
The Misunderstood,
Camouflage,
Popol Vuh,
Stetsasonic,
Joey Negro,
Liaisons Dangereuses,
Banda Bassotti,
The Blues Magoos,
Red Lorry Yellow Lorry,
The West Coast Pop Art Experimental Band,
Jerry's Kids,
The Index,
Delon & Dalcan,
Country Joe & The Fish,
Fifty Foot Hose,
Orchestral Manoeuvres in the Dark,
Peter and Kerry,
The Fire Engines,
The Fortunes,
The Durutti Column,
Jandek,
Sunsets and Hearts,
The Fugs,
Rhythim Is Rhythim,
Thee Headcoats,
Barclay James Harvest,
Main Source,
Terror Squad Feat. Camron,
The Smoke,
The Tremeloes,
The Electric Prunes,
Kayak,
Moby Grape,
Accadde A,
The Detroit Cobras,
Albert Ayler,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.