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 Switzerland and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Portland 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Livin' Joy to the funk 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 Underground Resistance. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every Gian Franco Pienzio 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Patti Smith,
Deakin,
Duran Duran,
Jimmy McGriff,
Magazine,
Art Ensemble Of Chicago,
Byron Stingily,
Michelle Simonal,
Scratch Acid,
Outsiders,
Big Daddy Kane,
Echo & the Bunnymen,
Brass Construction,
Kerri Chandler,
DNA,
Fatback Band,
The Residents,
Louis and Bebe Barron,
Ohio Players,
Oppenheimer Analysis,
The Smoke,
John Holt,
Lucky Dragons,
The Skatalites,
Q and Not U,
Delon & Dalcan,
Sister Nancy,
Pagans,
Country Teasers,
Second Layer,
Peter and Kerry,
Blake Baxter,
Funkadelic,
Chris Corsano,
Liaisons Dangereuses,
Los Fastidios,
The Names,
Soul Sonic Force,
Amon Düül,
The Monks,
David Axelrod,
The Cowsills,
Gabor Szabo,
Ten City,
Laurel Aitken,
Stereo Dub,
The Gories,
Howard Jones,
It's A Beautiful Day,
The Cramps,
Scrapy,
Oblivians,
Sparks,
Gian Franco Pienzio,
The Kinks,
Susan Cadogan,
Sandy B,
Avey Tare's Slasher Flicks,
Barry Ungar,
Basic Channel,
Grauzone,
Rosa Yemen,
The Fugs,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.