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 Uruguay and from Shanghai.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Milan 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 Lou Reed 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 Minor Threat to the disco kids.
I played it at CBGB's.
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 Nirvana. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Lebanon Hanover,
Frankie Knuckles,
Scan 7,
Funkadelic,
Dawn Penn,
Lee Hazlewood,
Technova,
Harpers Bizarre,
Scrapy,
The Detroit Cobras,
The Blackbyrds,
the Fania All-Stars,
Kerrie Biddell,
The Sonics,
Archie Shepp,
Metal Thangz,
Todd Rundgren,
Bizarre Inc.,
Swell Maps,
Reuben Wilson,
Eyeless In Gaza,
Ultravox,
Kayak,
X-Ray Spex,
Maleditus Sound,
Dark Day,
Gian Franco Pienzio,
The Flesh Eaters,
Sad Lovers and Giants,
The Fugs,
Shuggie Otis,
The Peanut Butter Conspiracy,
Sex Pistols,
Fela Kuti,
DeepChord presents Echospace,
June of 44,
Matthew Bourne,
Selector Dub Narcotic,
Theoretical Girls,
Aaron Thompson,
The West Coast Pop Art Experimental Band,
Oneida,
Angels of Light & Akron/Family,
New Age Steppers,
Orchestral Manoeuvres in the Dark,
Cheater Slicks,
Black Flag,
The Alarm Clocks,
The Tremeloes,
Curtis Mayfield,
Peter and Kerry,
Pole,
Sam Rivers,
Gichy Dan,
Bang on a Can All-Stars,
Godley & Creme,
Mr. Review,
The Velvet Underground,
The Offenders, The Offenders, The Offenders, The Offenders.
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.