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 Austria and from Tokyo.
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 1966 to 1979.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Taipei 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 The Misunderstood to the disco kids.
I played it at the Troubador.
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 Kerri Chandler. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every The Residents 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
John Holt,
Alison Limerick,
Mars,
Cybotron,
Niagra,
Barbara Tucker,
Kerrie Biddell,
The Invisible,
Pantaleimon,
Andrew Ashong & Theo Parrish,
EPMD,
Cecil Taylor,
Hardrive,
The Beau Brummels,
Jeff Mills,
Unwound,
Bronski Beat,
Q65,
The Remains,
Newcleus,
Brass Construction,
48th St. Collective,
FM Einheit,
Grandmaster Flash,
Joyce Sims,
A Flock of Seagulls,
Pussy Galore,
Donny Hathaway,
Marcia Griffiths,
Rahsaan Roland Kirk,
The Victims,
Bootsy's Rubber Band,
Tres Demented,
Dead Boys,
Sugar Minott,
the Human League,
DJ Style,
The Fugs,
Al Stewart,
Robert Hood,
Fat Boys,
Sight & Sound,
Captain Beefheart & His Magic Band,
Piero Umiliani,
The Black Dice,
Deadbeat,
Camron Feat. Jay Z And Juelz,
Bill Near,
Bush Tetras,
Kool G Rap & DJ Polo,
Negative Approach,
Excepter,
Neil Young & Crazy Horse,
Heavy D & The Boyz,
Kenny Larkin,
Rhythm & Sound,
The Zeros,
Man Eating Sloth,
Animal Collective,
Altered Images,
Derrick May, Derrick May, Derrick May, Derrick May.
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.