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 Malawi and from Copenhagen.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Madrid.
I'm losing my edge to the art-school Toronto 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Jesper Dahlback to the punk kids.
I played it at the Astoria.
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 The United States of America. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Neu! 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 '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Jacob Miller,
Soul II Soul,
Schoolly D,
Juan Atkins,
Vaughan Mason & Crew,
Camouflage,
Beasts of Bourbon,
Eric B and Rakim,
Stetsasonic,
Strawberry Alarm Clock,
Mission of Burma,
John Lydon,
Interpol,
Erykah Badu,
Roxy Music,
The Royal Family And The Poor,
Roy Ayers Ubiquity,
Ponytail,
Don Cherry,
The Durutti Column,
FM Einheit,
Section 25,
Be Bop Deluxe,
Nick Cave & The Bad Seeds,
Parry Music,
Ornette Coleman,
Sly & The Family Stone,
Cluster,
Index,
Morten Harket,
Eyeless In Gaza,
The Associates,
Cecil Taylor,
Larry & the Blue Notes,
Massinfluence,
Slick Rick,
Avey Tare,
Idris Muhammad,
Ituana,
Delta 5,
Deepchord,
Eden Ahbez,
Can,
Howard Jones,
ABBA,
Erasure,
Andrew Hill,
The Standells,
Ossler,
Bob Dylan,
Cymande,
Avey Tare's Slasher Flicks,
Patti Smith,
Avey Tare & Kría Brekkan,
Jesper Dahlback,
Kayak,
Davy DMX,
Matthew Halsall,
The Mummies,
Pussy Galore,
Warsaw,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.