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 Japan and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Milan.
I'm losing my edge to the art-school Glasgow 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 mellotron sounds with much patience.
I was there when David Bowie 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 Boredoms to the rock kids.
I played it at the Roxy.
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 Scion. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
Subhumans,
Tom Boy,
The Buckinghams,
Radiopuhelimet,
Super Lover Cee & Casanova Rud,
Bluetip,
The Durutti Column,
Grandmaster Flash and the Furious Five,
Roxy Music,
Judy Mowatt,
Blancmange,
Major Organ And The Adding Machine,
Strawberry Alarm Clock,
Ponytail,
Black Moon,
Jerry Gold Smith,
Niagra,
Letta Mbulu,
Lalann,
Skaos,
Model 500,
Michelle Simonal,
Infiniti,
Section 25,
Fifty Foot Hose,
Peter Gordon & Love of Life Orchestra,
Andrew Hill,
Severed Heads,
The Litter,
James Chance & The Contortions,
The Pop Group,
Kenny Larkin,
Janne Schatter,
Tropical Tobacco,
Marc Romboy vs. Booka Shade,
Tres Demented,
Maurizio,
The Blues Magoos,
Grauzone,
Captain Beefheart & His Magic Band,
Oppenheimer Analysis,
June of 44,
Half Japanese,
the Association,
Ludus,
Procol Harum,
Flipper,
Yazoo,
Hashim,
T.S.O.L.,
Lou Christie,
Wolf Eyes,
Archie Shepp,
Amon Düül,
Fear,
Tommy Roe,
Negative Approach,
Wasted Youth,
The Doors,
Barbara Tucker,
The New Christs,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.