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 New Zealand and from Accra.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Winnipeg 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Cabaret Voltaire to the electroclash kids.
I played it at Cafe Wha.
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 Residents. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every The Mummies 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Lafayette Afro Rock Band,
Cheater Slicks,
The Offenders,
The Black Dice,
Sexual Harrassment,
A Flock of Seagulls,
The Men They Couldn't Hang,
Can,
Scott Walker,
The Fugs,
Sandy B,
Model 500,
Delta 5,
The Durutti Column,
The West Coast Pop Art Experimental Band,
Unwound,
a-ha,
Nils Olav,
Roxy Music,
Colin Newman,
Gil Scott Heron,
Marshall Jefferson,
Infiniti,
Ohio Players,
Second Layer,
Barclay James Harvest,
Lee Hazlewood,
Graham Central Station,
UT,
the Association,
Minor Threat,
Kurtis Blow,
Lebanon Hanover,
Subhumans,
the Germs,
Skriet,
Ultravox,
The Cramps,
The Divine Comedy,
KRS-One,
Moebius,
Ponytail,
Crispy Ambulance,
Marvin Gaye,
Hashim,
Röyhkä ja Rättö ja Lehtisalo,
Derrick Morgan,
Lightning Bolt,
The Velvet Underground,
U.S. Maple,
Spoonie Gee,
The Blackbyrds,
Terror Squad Feat. Camron,
Arab on Radar,
Metal Thangz,
Don Cherry,
Gang of Four,
Eden Ahbez,
T.S.O.L.,
Soft Machine,
Lalann,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.