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 Spain and from Manchester.
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 1976.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Manila 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 1973 at the first Television practice in a loft in New York.
I was working on the synthesizer 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 Orchestral Manoeuvres in the Dark to the electroclash kids.
I played it at the Spitz.
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 Albert Ayler. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Charles Mingus 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 '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Gastr Del Sol record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
The Wake,
Shuggie Otis,
Marmalade,
The Selecter,
Loose Ends,
Infiniti,
JFA,
The Neon Judgement,
Wire,
Bill Wells,
Soul II Soul,
Orchestral Manoeuvres in the Dark,
Newcleus,
Icehouse,
Arthur Verocai,
Guru Guru,
Marvin Gaye,
Barclay James Harvest,
Major Organ And The Adding Machine,
Skarface,
OOIOO,
Bobby Sherman,
The Dave Clark Five,
The Martian,
Roxette,
F. McDonald,
Average White Band,
Kool Moe Dee,
Letta Mbulu,
X-101,
Minnie Riperton,
The Vogues,
Stereo Dub,
Rites of Spring,
Eyeless In Gaza,
Robert Wyatt,
Excepter,
Eric B and Rakim,
Anthony Braxton,
Alison Limerick,
Skriet,
Supertramp,
Rotary Connection,
Sad Lovers and Giants,
Crime,
Chris & Cosey,
The Fuzztones,
Red Lorry Yellow Lorry,
Khruangbin,
Archie Shepp,
Man Parrish,
Underground Resistance,
James Chance & The Contortions,
Johnny Osbourne,
Girls At Our Best!,
Peter and Kerry,
Arcadia,
Outsiders,
Ronan,
The Dead C,
H. Thieme,
Joe Finger,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.