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 Spokane.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Lyon and Stockholm.
I'm losing my edge to the art-school Houston 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 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Ultravox to the punk 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 Bush Tetras. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Drexciya,
Icehouse,
Smog,
Buzzcocks,
Pole,
Crash Course in Science,
Kauko Röyhkä ja Narttu,
The Walker Brothers,
The Pop Group,
kango's stein massive,
China Crisis,
Ludus,
F. McDonald,
Pussy Galore,
Fad Gadget,
Richard Hell and the Voidoids,
The Young Rascals,
The Shadows of Knight,
Anakelly,
Average White Band,
Boredoms,
Eric Copeland,
Television Personalities,
Jeff Lynne,
The Happenings,
Depeche Mode,
Barry Ungar,
The Motions,
The Five Americans,
Sonic Youth,
Peter Gordon & Love of Life Orchestra,
Motorama,
The Gap Band,
Procol Harum,
Gang of Four,
48th St. Collective,
Rekid,
The Alarm Clocks,
The Flesh Eaters,
Ten City,
The J.B.'s,
Frankie Knuckles,
Hoover,
The Associates,
Strawberry Alarm Clock,
KRS-One,
New Age Steppers,
Sugar Minott,
Vainqueur,
Pharaoh Sanders and the Fire Engines,
The Tremeloes,
Black Sheep,
Donald Byrd,
Au Pairs,
Siglo XX,
Dawn Penn,
K-Klass,
Amazonics,
Bang On A Can,
Minnie Riperton,
Jerry Gold Smith,
Accadde A, Accadde A, Accadde A, Accadde A.
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.