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 Moldova and from Tehran.
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 1977.
I'm losing my edge.
To all the kids in Delhi and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 1976 at the first Feelies practice in a loft in Haledon.
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 Neil Young & Crazy Horse to the rock 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 Shuggie Otis. All the underground hits.
All Gil Scott Heron tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
The Five Americans,
Barry Ungar,
Junior Murvin,
Animal Collective,
Pet Shop Boys,
Strawberry Alarm Clock,
Technova,
Subhumans,
Rod Modell,
Main Source,
Siglo XX,
Eddi Front,
Freddie Wadling,
Yusef Lateef,
The Alarm Clocks,
Unrelated Segments,
Model 500,
Henry Cow,
kango's stein massive,
Stetsasonic,
Cal Tjader,
Judy Mowatt,
Barclay James Harvest,
Roxy Music,
48th St. Collective,
Agitation Free,
Interpol,
Pharaoh Sanders and the Fire Engines,
Danielle Patucci,
EPMD,
Marshall Jefferson,
Sun Ra,
Scrapy,
Radiopuhelimet,
Country Teasers,
Harmonia,
E-Dancer,
Index,
Graham Central Station,
Kings Of Tomorrow,
Lee Hazlewood,
Aural Exciters,
Rowland S Howard / Lydia Lunch,
The Durutti Column,
Rhythm & Sound,
Nas,
Kerri Chandler,
Siouxsie and the Banshees,
Jacques Brel,
Quadrant,
Deepchord,
The Zeros,
the Bar-Kays,
Reuben Wilson,
Radiohead,
Lafayette Afro Rock Band,
Joe Finger,
Juan Atkins,
Jeff Lynne,
Kool G Rap & DJ Polo,
Johnny Clarke,
Alison Limerick,
Absolute Body Control, Absolute Body Control, Absolute Body Control, Absolute Body Control.
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.