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 Equatorial Guinea and from Philadelphia.
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 1976.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Stockholm 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord 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 Oneida to the punk kids.
I played it at the Hacienda.
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 Modern Lovers. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Black Flag,
Mary Jane Girls,
Anthony Braxton,
Rufus Thomas,
Maurizio,
Delon & Dalcan,
Amon Düül,
Notorious BIG live in Amsterdam,
Arthur Verocai,
Gregory Isaacs,
the Fania All-Stars,
Neil Young,
Anakelly,
Siglo XX,
Sarah Menescal,
Cameo,
Mars,
The Fire Engines,
The Barracudas,
Camouflage,
The Names,
Television,
The Monks,
Pole,
H. Thieme,
Terrestrial Tones,
Joey Negro,
Liaisons Dangereuses,
Manfred Mann's Earth Band,
The Selecter,
Sun City Girls,
Dead Boys,
PIL,
The Standells,
Nirvana,
Morten Harket,
Lower 48,
Lizzy Mercier Descloux,
Sticky Fingaz feat. Raekwon,
Black Moon,
The Leaves,
Freddie Wadling,
New Age Steppers,
Reagan Youth,
Lucky Dragons,
Simply Red,
The Wake,
Rites of Spring,
Country Joe & The Fish,
Oblivians,
Girls At Our Best!,
Boredoms,
Matthew Bourne,
Big Daddy Kane,
Kas Product,
Pierre Henry,
Sunsets and Hearts,
Interpol,
Aswad,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.