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 United Kingdom and from Sao Paulo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator 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 Art Ensemble Of Chicago to the grunge 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 Eden Ahbez. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Soft Machine,
Mars,
London Community Gospel Choir,
Man Eating Sloth,
Fluxion,
The Shadows of Knight,
Pantytec,
Underground Resistance,
Lou Reed & Metallica,
Glenn Branca,
Kool Moe Dee,
The Remains,
Goldenarms,
The Fuzztones,
Deakin,
Brick,
The Smiths,
AZ,
Pere Ubu,
LL Cool J,
Kayak,
Chrome,
Marine Girls,
The Buckinghams,
Country Teasers,
The Techniques,
Delon & Dalcan,
Bluetip,
The Skatalites,
Flipper,
Kas Product,
Suburban Knight,
Deadbeat,
Sexual Harrassment,
Susan Cadogan,
Hasil Adkins,
Porter Ricks,
Flash Fearless,
Bootsy Collins,
Art Ensemble Of Chicago,
Young Marble Giants,
Oblivians,
Pole,
The Gories,
Grauzone,
The Cramps,
World's Most,
Monks,
Terrestrial Tones,
Rhythim Is Rhythim,
Lee Hazlewood,
Jerry's Kids,
Pet Shop Boys,
Ultimate Spinach,
Scientists,
Sparks,
Robert Görl,
Grey Daturas,
Sight & Sound,
Electric Light Orchestra,
Visage, Visage, Visage, Visage.
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.